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LIBRARY^ 

UNIVERSITY  or 
CALIFORNIA 

SAN  DIEGO 


Digitized  by  the  Internet  Archive 

in  2007  with  funding  from 

IVIicrosoft  Corporation 


http://www.archive.org/details/eartrainingsightOOwedgiala 


To  My  Mother 


EAR-TRAINING  AND 
SIGHT-SINGING 

Applied  to  Elementary  Musical  Theory 


A  Practical  and  Coordinated  Course 
For  Schools  and  Private  Study 


By 

GEORGE  A,  WEDGE 


G.  SCHIRMER,  Inc.,  NEW  YORK 


Copyright,  1921,  by  G.  Schirmer,  Inc. 
Printed  in  U.  S.  A. 


30094 


ANALYTICAL  TABLE  OF  CONTENTS 


1 

i 

J 

SactlMi  A:  Thaerr 

Swttona  B  and  C  :  DIclaHon 

,  Kar-tralnloA  and  Sitht-alaAlaA 

^ 

Pitch  and  Construction 

iUiythm 

Intervals 

Chord* 

Key* 

I 

1 

• 

13 
IS 

17 
19 

25 

29 
30 

34 
34 

45 
45 

52 

53 

SS 

64 
64 

69 

74 

•0 

S5 

•9 

94 

101 
102 

105 

no 

1 

2 

3 
4 

5 

6 
7 

• 

9 
10 

11 
12 

13 

14 

IS 
16 
17 

la 

19 

Sound.   Pitch,   Staff. 

etc.  defined. 
Octave  Group*. 

Recognition    of    tones 
in  different  registers. 

11 

Meaaurins    distance 
on  the  itafl  from 
a  tone  to  the  3rd. 
Sth  and  8tb  tone*. 

Recognition  of  1,3,  5. 
8  from  C.  G  and  F. 

III 

Meter  and  Rhythm. 
Note-ralue*. 
Reat-value*. 

{continued.) 

2-2     2-4     2-8. 
Added  beat. 

IV 

Key— Major  Scale 
Acddental*. 
Name*    of    acalc- 
•tep* 

Diatonic  and  chro- 
matic lialf-ftep*. 

Sections  of  scale  be- 
tween 1.  3.  S,  8. 

3-2     3-4     3-8 
Added  beat. 

C,  G.  F. 
{eoutinutd.} 

icoHtimuM.) 

Phrase  combining  rhy- 
thm and  pitch. 

Ji-J 

(.continued.) 

V 

Key-Signaturea. 

leonliHued.) 

J.u« 

(.continued.) 

VI 

Rest   and    Active 
Tone*. 

Study  of  the  7th  and 

2Bd. 

Study  of  the  6th  and 
4th. 

{t«mtinued.) 

VII 

Minor  Mode. 

Same  drill  applied  to 

minor. 
Contrasting  major 

and  minor  mode*. 

;3;^i.| 

Divided  beat. 

c.  f .  g. 

VIII 

leouHnrnti.} 

2-2     2-4  Added 
ft  divided. 

2-4     2-8  Added 
8t  divided. 

(.eomUmutd.i 

itomtinmtd.) 

DrUI    ia    major    and 
minor. 

2-7. 

{conUnutd.) 

e.  1.  g. 
C.  F.  G. 

IX 

Interval* ,    Perfect 
and  Major. 

New  progreaaion*  2-4. 
4-2. 

{continued.) 

Major  3rd. 
Perfect  Sth. 

lanUinmed.) 

Minor  Intenrala. 

New  progression*  4-6, 
6-4. 

{continutd.) 

Perfect  4th. 
Minor  6th. 

(.tomtiuutd.) 

Study    of    the    Up- 
beat. 

Intervals  Icon- 
linu*ii. 

SIcips  from  8. 

8  6  5:  8  4  3:  •  2  I.' 

Up-beat   in    2-4 
•(3-4 

Compariion   of 
Perfect  Sth  Ic 
4th. 

Major   3rd  & 
Minor  6th. 

Dftd. 

Diminished  and 
Autmeatcd  Inter- 
val*. 

Compound  Meter. 

IconUmtui.) 

4-4  Added  beat. 

{continutd.) 

Bk  ft  hV. 

{comlinu*4.) 

(contintud.) 

4-4  Divided 
beat. 

Minor  3rd. 
Major  6th. 

Bk  ft  b^. 
Dft  d. 

Inversion   of    Inter- 
vals. 

New  progression*  S-2, 
2-5. 

4-4  Up-beat. 

Ail  intervals  used 
In  combination. 

B^  ft  b^. 
Dftd. 

Scale  and  Staff  Po«- 
tion  of   Intervals. 

New  progression*  5-4, 
4-5. 

6-8  Added  beat. 

ic9mUn»a.) 

A. 

X 

Chords  in  Major.  I. 
V.  II.  IV.  VI  and 
III. 

Uonlinntd.) 

6-8  Up-beat. 

leoulinutd.) 

Bfr. 

\ 

Chords  in  Minor.  I. 

V.  ir.  IV.  VI  and 

III. 
The  VT.    IV.  and  V» 

in      Major       and 

Minor. 

Uonlimutd.) 

ieoutinrnti.) 

(amHnm*i.) 

I. 

(cMMnxd.) 

ANALYTICAL  TABLE  OF  CONTENTS— Con/ 

• 

1 

i 

1 

Section  A:  Theoiy 

Sacttooa  B  and  C  :  Dictation, 

Ear-tnlnlnt  and  SlAlit>tla«ta« 

Pilch  and  Construction 

Rhythm 

Intervals 

Chords 

Keys 

XI 

112 
113 

118 

Ilg 

123 
124 

129 
129 

134 
135 

139 
141 

145 

145 

151 

155 
155 

160 
161 

l«S 
165 

169 
170 

20 

21 

22 

33 
24 

25 

26 
27 

28 
29 

30 
31 

Melody 
Scale-line  regular. 
Skip  of  a  3rd  reg- 
ular. 

Phrases     using     con- 
structions   of    Sec- 
tion A. 

(continttfd.) 

Absolute    Inter- 
vals. 
Major  3rd. 
Minor  3rd. 

V. 

E. 

xu 

Scale-line    irregu- 
lar 

Skip  of  a  3rd  Ir- 
regular. 

(conlinufd.) 

«n33  «»i*i 

Perfect  Sth. 
Perfect  4th. 

Vft  I. 

e. 

XIII 

Single  Wide  Skips. 
Delayed      reaolu- 

Uon    of    Active 

Tone*. 

Uonlinued.) 

J7779S  lag 

Minor  6th. 

(.eoitlinmtd.) 

(eontinutd.) 

XIV 

Consecutive 
Skips. 

Consecutive  skips  in  I 
chord 

ieontinued.) 

Major  6th. 

VT-I. 

Al.. 

XV 

Minor  Melody. 
Melodic  minor  scale. 

Phrases  in  minor. 

^'»M 

Comparison   of 
Major  and 
Minor  6lht. 

(conltHuid.) 

f. 

XVI 

Regular  and  Irregu- 
lar Rhythms. 

Outline  of  Melody- 
Writing. 

Uontinufd.) 

In  minor. 

(eontinutd.) 

f. 

XVII 

Period-Form. 
Parallel  Construc- 
tion. 

Period-Form. 
Parallel  1st  tUge. 

In    I    and    V 
Chords. 

itomlinutd.) 

B. 

Contrasting   Con- 
struction. 

Parallel  2nd  stage. 

J-shl-l 

(coHlinued.) 

I.  V7.  I. 

Bftc. 

XVIII 

Figure. 

Exact   Repetition 

Parallel  3rd  stage. 
Contrasting  Figures. 

/3t«|*| 

In    I    and    Vr 
Chords. 
The  Major  2nd. 
Minor  7th. 

(ettnlinu*4.) 

b. 

XIX 

Modified  Repetition 
and  Sequence. 

P  e  r  i  0  d— both  con- 
structions. 

Figure    modified    by 
adding  tones. 

Changing  site  of  in- 
terval. 

Jl.nJ 

(fonliuntd.) 

I.  V».  I 
in  minor. 

ieomtiuuid.) 

XX 

Period-Form      (coii- 
ItHued.) 

Parallel    by    Se- 
quence. 

Parallel  by  Inver- 
si  on. 

Figure    modified     by 
inversion  and  chang- 
inc  rhythm. 

/^•>g 

In    I    and    Vr 
Chords  in 
minor. 

(conlinutd.) 

Dk. 

XXI 

Setting     Words    to 
Music. 

Figures— Alt  modiH- 
cationi. 

(continurd.) 

leoHlinmtd.) 

{comlinmtd.) 

(coa(f«Md.) 

PREFACE 

The  purpose  of  this  book  is  to  present  the  Elements  of  Music 
in  a  direct  and  concise  manner;  to  show  as  simply  as  possible  the 
reason  for  these  things;  to  give  the  pupil  material  for  practice 
and  instruct  him  how  to  use  this  material. 

Each  step  is  presented  in  three  ways:  first,  exercises  to  be 
written;  second,  exercises  for  dictation  to  be  used  in  Ear-training; 
third,  exercises  for  Sight-reading. 

Section  A  of  each  Lesson  contains  the  exercises  for  written 
work;  Sections  B  and  C  the  exercises  for  Ear-training  smd  Sight- 
reading. 

In  class-work  it  has  been  found  practical  to  use  three  fifty- 
minute  periods  a  week,  devoting  a  period  to  each  Section. 

Following  is  the  plan  of  the  book,  showing  the  development 
of  the  work  and  the  order  in  which  the  factors  are  taken  up. 


An  Acknowledgement 

The  author  wishes  to  express  his  thanks  to  Dr.  Frank 
Damrosch  for  his  confidence  in  this  work  and  his  generous  attitude 
as  it  was  developed  in  the  classes  at  the  Institute  of  Musical  Art; — 

To  Miss  Helen  W.  Whiley,  whose  cooperation  and  enthusiasm 
in  presenting  this  subject  have  made  the  work  possible;  also,  for 
writing  the  exercises  for  study  of  the  first  fifteen  lessons  in  Ear- 
training; — 

To  Dr.  Thomas  Tapper  for  reviewing  the  manuscript  and  for 
valuable  suggestions  in  the  arrangement  of  the  material ; — and 

To  Dr.  Percy  Goetchius'  excellent  book,  "Melody-Writing," 
for  the  order  of  presentation  of  the  points  in  Melodic  Construction. 

George  A.  Wedge. 


[v] 


TABLE  OF  CONTENTS 


Chapter  I. 

General  Definitions 

PAGE 

1 

Chapter  II. 

Measurement  of  Distances 

6 

Chapter  III, 

Meter  and  Rhythm 

13 

Chapter  IV. 

Keys  and  Scales 

17 

Chapter  V. 

Key-Signatures 

29 

Chapter  VI. 

Rest  and  Active  Tones 

34 

Chapter  VII. 

The  Minor  Mode 

45 

Chapter  VIII. 

Minor  Signatures 

52 

Chapter  IX. 

Intervals 

^ 

Chapter  X. 

Chords 

101 

Chapter  XI. 

Melody — Regular  Scale-Line  and  Narrow 
Skips 

112 

Chapter  XII. 

Melody — Irregular  Scale-Line  and  Nar- 
row Skips 

118 

Chapter  XIII. 

Melody — ^Wide  Skips 

123 

Chapter  XIV. 

Melody — Consecutive  Skips 

129 

Chapter  XV. 

Minor  Melody 

134 

Chapter  XVI. 

Regular  and  Irregular  Rhythms 

139 

Chapter  XVII. 

Period-Form 

145 

Chapter  XVIII. 

Figure — Exact  Repetition  and  Sequence 

155 

Chapter  XIX. 

Figure — Modified    Repetition    and    Se- 
quence 

160 

Chapter  XX. 

Period-Form  (continued) — Parallel  Con- 
struction by  Sequence  and  Inversion 

165 

Chapter  XXI. 

Setting  Words  to  Music 

169 

[vil 


EAR-TRAINING  AND  SIGHT-SINGING 


CHAPTER  I 

General  Definitions 

Music  is  an  Art,  the  medium  of  which  is  Sound. 

All  art-forms,  such  as  painting,  sculpture,  architecture  and 
dancing,  are  means  of  self-expression.  They  differ  in  the  medium 
of  expression.  The  painter  uses  lines  and  color;  the  musician 
uses  sound. 

Musical  Sound  or  Tone  differs  from  noise  in  that  it  has  a 
regular  and  fixed  number  of  vibrations  per  second.  Tone  pos- 
sesses four  properties — Pitch,  Duration,  Quality  and  Quantity. 
Noise  is  generally  lacking  in  one  or  more  of  these  properties.  There 
are  certain  noises  which,  by  their  constant  repetition,  approximate 
sound;  such  as  those  made  by  a  motor  or  trolley  car  when 
speeding  up. 

The  Pitch  of  a  sound  is  determined  by  the  number  of  vibra- 
tions per  second.  The  greater  the  number  of  vibrations,  the 
higher  the  pitch:  the  fewer,  the  lower  the  pitch.  If  we  stretch 
a  rubber  band  and  use  a  ruler  as  a  movable  bridge,  we  are  able,  by 
plucking  the  band,  to  make  sounds  of  different  pitches.  The 
greater  the  distance  from  the  ruler  to  the  fixed  end  of  the  band, 
the  slower  the  vibrations  and  the  lower  the  pitch ;  the  shorter  the 
distance,  the  faster  the  vibrations  and  the  higher  the  pitch.  In 
a  piano  the  longer  strings  produce  the  lower  sounds. 

The  Duration  of  a  sound  is  the  length  of  time  the  vibrations 
continue. 

The  Quality  or  Color  of  a  sound  is  determined  by  the  instrument 
which  produces  the  sound.  It  is  quality  which  tells  us  whether, 
the  tone  is  that  of  a  voice,  violin  or  piano. 

The  Quantity  of  a  sound  is  determined  by  the  volume;  if  it 
is  loud  or  soft. 

Musical  tones  are  represented  upon  paper  by  Notes.  The 
notes  are  placed  upon  five  parallel,  equidistant,  horizontal  lines, 
called  a  Staff.  Each  line  and  space  represents  a  definite  pitch 
assigned  to  it  by  a  key-letter  called  a  Ckf,  placed  at  the  beginning  of 
the  staff.    Only  two  clefs  are  commonly  used,  the  G  and  F. 

1 


2  Ear-Training  and  Sight-Singing 

The  G-Clef,  which  was  originafly  a  Gothic  letter  G,  is  always  so 


placed  as  to  circle  around  the  second  line,   -iS*.     „  a  d  'j  " 


which  determines  the  pitch  of  that  line  to  be  G;  the  next  space 
above  is  A;  the  next  line  above  is  B;  etc.  The  space  below  G  is  F, 
the  line  below  that  is  E,  etc.  Each  successive  line  and  space  is 
named  in  alphabetic  order  until  the  eighth  degree  is  reached. 
This  is  a  duplication  of  the  first  sound  and  has  the  same  name. 

The  F-Clef,  which  was  a  Gothic  letter  F,  is  placed  with  its 
two  dots  on  either  side  of  the  fourth  line  of  the  staff.  This  de- 
termines the  pitch  of  that  line  to  be  F;  the  next  space  above  is  G, 
the  next  line  is  A,  etc.    The  space  below  F  is  E,  the  next  line 

*)'     *"""""  D  .  below  is  D,  etc.     Each  line  and  space  is 

"   *   fl  y  • 

named  in  alphabetic  order  until  the  eighth  is  reached. 

In  piano  music  there  are  two  Staves  used  together,  with  the 
G-Clef  on  the  upper,  which  is  commonly  called  the  treble  staff,  and 
the  F-Clef  on  the  lower,  commonly  called  the  bass  staff.  This  is 
really  one  large  staff  of  eleven  lines  with  the  middle  line  omitted. 


^ — ^-     The  eleven-line  staff  was  known  as  the  Great  Staff. 

The  great  staff  was  originally  invented  to  accommodate  the  tones 
for  the  four  voices — soprano,  alto,  tenor  and  bass.  The  center  line 
had  the  pitch  C  which  all  the  voices  could  sing,  and  the  lines 
above  and  below  included  the  sounds  within  the  range  of  the 
voices.  The  eleven  lines  as  a  unit  group  were  difficult  to  read: 
therefore  the  middle  line,  C,  was  later  omitted,  leaving  five  lines 
above  and  below. 

Music  requires  the  use  of  tones  higher  and  lower  in  pitch  than 
the  degrees  of  the  staff.     We  extend  the  staff  for  these  pitches 

by  the  use  of  lines  known  as  Leger-Lines: 

For  convenience  in  determining  the  location  or  register  of 
tones  and  in  learning  the  names  of  the  lines  and  spaces,  we  divide 
the  Great  Staff  into  octave  groups,  thus: 


General  Definitions 


CDEFOAB      cdefgab      c«  d«  e«  f «  ?« a«  b'     c«  d'e*  f»  g»a>b"     c»  d»  e»  f  •  g»  a»  b« 
Great  OctmTe         Small  Octaye         Oae-lia«  Octare     Two-Uae  Octave     ThreMlne  Ootam 


Lesson  1 


Section  A. 


Suggestions  for  Study: 

(1)  Make  a  Great  Staff  by  drawing  a  dotted  line  between 
the  treble  and  bass.     Place  the  following  pitches: 
c\  C,  c,  c«,  c»,  G,  gS  gS  g,  g',  d,  d^  D,  d\  d»,  a',  A,  a,  aS  E,  e*,  e, 
eS  eS  b,  h\  b^  B,  f«,  f,  F,  f. 


Example: 


(2)  After  the  pitches  are  written,  recite  the  name  and  register 
of  each  without  reference  to  the  table, 

(3)  Place  pencil  on  a  line  or  space  and  quickly  name  the  pitch 
and  register. 

(4)  Place  the  following  pitches  in  the  treble:  A,  C,  F,  B,  E, 
D,  G. 

(5)  Place  the  following  pitches  in  the  bass:  D,  B,  E,  C,  A,  G,  F. 

Section  B. 

Play  c^  on  the  piano.  Play  c'  and  listen  to  its  relation  to  c^  in 
direction  and  distance.  Name  the  staff  position  of  c'  (third  space, 
G-clef).  Play  c^  and  then  c.  What  is  the  relation  in  direction 
and  distance?  Name  the  staff  position  of  c.  Study  c'  and  C 
in  the  same  way. 

Play  c.  Think  the  pitch  of  c^,  sing  it;  play  it  on  the  piano 
to  test  your  accuracy. 

Play  c*.     Think  and  sing  c*. 

Play  C.     Think  and  sing  c^ 

Think  the  c  occurring  between  C  and  c*.  Play  it  on  the  piano 
to  test  your  accuracy. 


Ear-Training  and  Sight-Singing 


Play  c*.    Think  and  sing  c^     Think  the  c  occurring  between 
c*  and  c'.    Test  with  the  piano. 

Play  c»   \  Play  c» 

"     C   /  think  c».  "    C    /  think  c. 

"     c    \  *  "    c» 

"     c>  /  "    c* 

Sing  c^;  think  c',  test  on  the  piano;  place  on  the  staff. 
"     c  " 

••     c« 
"     C 
Sing  g*;  think  g,  test  on  the  piano;  place  on  the  staff. 
"     g'  " 

M  g, 

"     G 

Sing  f*;   think  F,  test  on  the  piano;  place  on  the  staff. 
»»     p  It 

»»     p  »» 

»»       r  ff 

Section  C. 

The  following  exercises  are  to  be  sung  when  in  the  vocal  range; 
otherwise  they  are  to  be  mentally  determined  and  tested. 

Play  c^  first  each  time;  think   c^  -  c^  c*  -  c* 

c  -  c^  c^  -  c* 

Place  each  on  the  staff.  c  -  c'  c*  -  c 

c-C  c»-C 

C  -  c^  C  -  c» 

C-c« 

Play  c'  first  each  time;  think   c'  -  c*  c^  -  c* 

c  -  c^  c^  -  c" 

Place  each  on  the  staff.  c  -  c*  c'  -  c 

c-C  c«-C 

C  -  ci  C  -  c« 

C-c» 
Play  g^  first  each  time ;  think  g^  -  g' 

Place  each  on  the  staff,   g^  -  G 

g^-g* 


General  Definitions 


Play  e^  first  each  time;  think   e*  -  e* 

e^  -e 
Place  each  on  the  staff,   e^  -  E 

ei-e» 

Play  c*  first  each  time;  think   C-c^-c*  c-C-c* 

c^-c-C  c'-c'-c* 

Place  each  on  the  staff,  c'  -  c^  -  c  c*  -  c^  -  c* 

c'-c'-c  C-c^-c* 

C-c  -c*  c*-c  -C 

c*-C-c  c'-c-c* 

Play  g*  first  each  time;  think  g^-g'-g*  g-G-g^ 

gi  _  g  _  G  g'  -  g*  -  g^ 

Place  each  on  the  staff,  g*  -  g^  -  g  g*  -  g^  -  g' 

g*  -  g*  -  g*  G  -  g^  -  g« 

G-g  -g*  g*-g  -G 

gi_G  -g  g»-g  -gi 

Play  e*  first  each  time;  think  e^  -  e*  -  e'  e  -  E  -  e^ 

e^  -  e  -  E  e'  -  e'  -  e^ 

Place  each  on  the  staff,  e'  -  e*  -  e  e'  -  e^  -  e' 

e'  -  e*  -  e^  e^  -  e  -  E 

E  -  e  -  e^  e^  -  e  -  e^ 

e^  -  E  -  e  E  -  e^  -  e' 

Play  f*  first  each  time;  think    F  -  P  -  f « 

fi_f    _F 

Place  each  on  the  staff,     f *  -  f ^  -  f 

f8  _  f  8    _  f  1 

Play  d^  first  each  time;  think  D  -  d^  -  d' 

d»  -  d  -  D 
Place  each  on  the  staff,  d*  -  d^  -  d 

d»  -  d«  -  d*  (etc.) 
Place  a'  first  each  time;  think  A  -  a*  -  a' 

a^-a  -A 
Place  each  on  the  staff,  a*  -  a^  -  a 

a'  -  a*  -  a*  (etc.) 
Play  b^  first  each  time;  think  B  -  b^  -  b' 

bi-b  -B 
Place  each  on  the  staff,  b'  -  b*  -  b 

b»_b«-b^  (etc.) 


CHAPTER  II 

Measurements  of  Distances 

In  measuring  distance  with  a  rule,  we  count  from  zero.  In 
music,  when  measuring  the  distance  on  the  staff  from  one  note  to 
another,  the  first  note  is  counted  as  one  and  each  Hne  and  space 
up  to  the  next  note  as  a  degree.  This  is  necessary,  because  each 
tone  is  one  of  the  series  of  seven  pitches.  To  find  the  distance  be- 
tween E  on  the  first  line  of  the  treble  and  B  on  the  third  line,  E  is 
one;  F  in  the  next  space  is  two;  G  on  the  next  line  is  three;  A  in  the 
next  space  is  four;  and  B  on  the  third  line  is  five. 


The  clock-face  is  divided  into  five-minute  periods  so  that 
exactness  in  time  may  be  the  more  readily  determined.  For  the 
same  reason  we  learn  the  relative  position  on  the  staff  of  the  third, 
fifth  and  eighth  tones  from  a  line  and  a  space. 

If  a  note  is  on  a  line,  the  third  is  on  the  next  line. 
If  a  note  is  in  a  space,  the  third  is  in  the  next  space. 
If  a  note  is  on  a  line,  the  fifth  is  on  the  second  litae. 
If  a  note  is  in  a  space,  the  fifth  is  in  the  second  space. 
If  a  note  is  on  a  line,  the  eighth  is  in  the  fourth  space. 
If  a  note  is  in  a  space,  the  eighth  is  on  the  fourth  line. 

If  the  position  of  the  third,  fifth  and  eighth  tones  is  known, 
it  is  easy  to  place  the  second,  fourth,  sixth  and  seventh  tones. 

Lesson  2 
Section  A. 

Suggestions  for  Study: 

(1)  Write  the  8th,  3rd  and  5th  degrees  on  the  treble  or  G-staff 
from  C,  G,  A,  E,  B  and  F. 

(2)  Write  the  8th,  3rd  and  5th  degrees  on  the  bass  or  F-staff 
from  B,  D,  F,  G,  E,  A  and  C. 

(3)  Write  the  8th,  3rd  and  5th  degrees  on  the  Great  Staff  from 

A,  cS  g»,  b,  i\  d,  a^ 

Note.  This  is  for  drill  in  spacing,  i.  e.,  to  learn  to  use  the  lines  and  spaces 
of  the  staff  so  that  when  a  note  is  on  the  first  line  we  shall  know  that  the  third  is 
on  the  next  line,  the  fifth  on  the  second  line  and  the  eighth  in  the  fourth  space. 
The  question  of  the  kind  of  third  and  fifth,  as  in  scale  and  interval  relation,  will 
be  treated  later. 

(6) 


Measurements  of  Distances 


(4)  Learn  the  name  of  the  3rd  and  5th  degrees  from  every 
pitch.  From  E  the  third  is  G;  the  fifth  is  B.  From  D  the  third 
is  F;  the  fifth  is  A;  etc. 


Section  B. 

In  the  foregoing  directions  the  expression  "think  C"  has  been 
used.  To  think  sound  means  to  hear  it  mentally,  to  listen  to  it 
with  the  inner  ear.  Most  of  us  can  think  the  tune  America  with- 
out actually  singing  it,  just  as  we  can  think  the  words  without 
actually  saying  them.  To  think  sound  demands  concentration; 
and  facility  in  it  requires  practice;  but  it  may  be  acquired  and  it 
must  be  by  the  serious  student.  The  beginner  in  ear-training  is 
always  tempted  to  hum  the  sound  he  is  trying  to  think.  Singing 
has  a  vital  part  to  play  in  training  the  ear,  but  only  as  a  guide 
and  not  as  a  final  necessity.  Use  it  as  a  crutch  which  may  be 
discarded  as  ability  to  think  sound  develops.  In  practising  the 
work  as  outlined  it  may  at  first  be  necessary  to  sing  the  exercises, 
but  do  not  neglect  constantly  to  make  the  effort  to  think  sound. 

Note.  The  above  does  not  refer  to  Sight-Singing,  which  is  quite  a  different 
matter. 

(1)  Comparison  of  a  given  tone  with  the  5th  tone  above  it, 
as  C  to  G. 

If  c^  is  considered  1 ,  then  c*  is  8  because  it  is  the  8th  tone  above, 
and  g^  is  similarly  the  5th. 

Take  c^  as  1. 

Play  1  8  1   (ci  c«  c^. 

Play  1  8  5  (c^  c»  gO- 

Play  these  two  groups  several  times  and  compare  the  effect 
of  each. 

1  8  1  is  complete  and  finished.  As  a  contrast,  1  8  5  is 
unsatisfactory.     Stopping  on  5,  we  expect  another  tone. 

Play  18  5  8  and  observe  that  the  addition  of  8  completes  and 
finishes  the  group. 

Play  1  8.  Play  1  5  and  compare  with  1  8.  Repeat,  and 
listen  to  determine  the  difference  of  pitch  and  the  difference  in 
distance  between  the  tones. 

(2)  Play  8  1;   8  5.     Play  several  times  and  compare. 


Ear-Training  and  Sight-Singing 


(3)  Listen  carefully  as  you  play  15  8  5  1;  immediately  re- 
produce the  sounds  mentally;  in  other  words,  think  them.  Study 
the  following  groups  in  the  same  way. 


18  5  18; 
8  5  8  5  8; 
(4)  Play  1. 

Play  8. 

Play  5. 

Play  5. 


1  8 
8  5 

Think  8. 

Think  1. 

Think  8. 

Think  1. 


1;    15  15  8;    85851; 


Sing  5. 
Sing  5 


Test  on  the  piano 
and  test. 


5  8  1;    15  15 
18  5  8. 

Think  5. 
Think  5. 
Sing  8  and  test. 
Sing  1  and  test. 
(5)  Play  15  8.     Note   the   distance  from    1  to  5.    Try   to 
think  a  sound  which  may  be  placed  between ;  find  this  sound  on  the 
piano. 

You  have  probably  played  the  tone  eS  which  is  the  third  tone 
above  cS  and  is  therefore  called  3.  Play  13  5  8.  Compare  this 
with  15  8.  Play  each  several  times.  After  some  study,  think  the 
sounds  in  each  group.    Which  group  has  the  more  pleasing  sound? 

Compare  with  8  5  3  1 
1  8 


Play 

8  5  1 

18  5  1 

15  5  8 

8  5  15  8 

15  8  5  1 

8  5  15  8 

8  15  8 

8  1 


Note  that  the  addition  of  3  to  any  combination  of  1,  5  and  8 
softens  and  beautifies  the  effect  of  the  whole  group  by  filling  in 
the  space  between  1  and  5,  which  alone  is  hard  and  hollow. 

(6)  Study  the  following  groups  as  indicated: 
(a)  Play   each   group,     (b)  Think   it.     (c)  Write   on    the 
staff  in  both  clefs. 

1358      8535351   31358531    5351531 
8531       1335581   58531        51535158 
85358     8553318   531358      5113358 
85351     358535    5353131 
13531     3135358   5858531 
1353531   3585851   5158531 

These  groups  should  be  practised  daily.  Vary  the  practice  by 
singing  the  groups  instead  of  playing  them,  but  always  think  the 
sound  first. 


Measurements  of  Distances 


(7)  Exercises  in  Sight-Singing,  to  be  practised  as  follows: 

(a)  Play  13  5  8. 

(b)  Read  exercise  through   mentally,   thinking,    first,   the 
number-name  and  sound,  next  the  letter-name  and  sound. 

(c)  Sing,  with  number  and  letter-names. 

(d)  Test  with  piano. 

Note.     It  is  most  important  always  to  think  the  sound  of  the  pitches  be- 
fore singing.     Use  the  piano  only  to  test. 


10 


12 


13 


14  15 


16 


17 


18 


19 


20 


21 


22  23  24  25 


26 


27 


S   ^^^ 


29 


30 


10 


Ear-Training  and  Sight-Singing 


Section  C. 

(1)  These  groups  should  also  be  practised,  using  G  as  1,  in 
which  case  B  is  3  and  D  is  5.    Also  take  F  as  1,  A  as  3  and  C  as  5. 
Play  1.        Think  5.        Sing  it.        Test. 

fl.  «  »l  o  »f  »»  »» 


5. 

ft 

1. 

tf 

*t 

3. 

1* 

1. 

tt 

tt 

Measurements  of  Distances 


11 


Play  5.        Think  3.         Sing  it.         Test. 


3. 


5. 


(2)  Take  C  as  1.     Play  13  5  8. 

Sing  a  measure  or  two  of  the  following  songs,  and  any  other 
familiar  ones.  Decide  each  time  whether  the  first  sound  is  1,  3,  5 
or  8. 

America,  Star-Spangled  Banner,  Annie  Laurie,  Old  Black  Joe, 
Swanee  River,  Battle  Hymn  of  the  Republic,  Glory,  Glory,  Halle- 
lujah, The  Marseillaise,  Dixie,  Yankee  Doodle. 

(3)  Play  1.    Think  13  5  8.    Think  3.    Sing  it.      Test  it. 
Think  13  5  8.   Think  5 ;  sing  and  test. 

13  5  8.  "8       "       "       " 

Constantly  practise  this,  taking  any  sound  as  1.  Think  and 
sing  13  5  8.     Then  1,  3.  5  and  8,  in  any  order. 

An  instant  recognition  of  1  3  5  and  8  is  of  the  utmost  im- 
portance. In  fact,  further  development  is  hindered  until  one  has 
reached  some  degree  of  proficiency  in  this  step. 

(4)  Exercises  in  Sight-Singing,  Practise  as  outlined  in  the 
preceding  Lesson. 


12  Ear-Training  and  Sight-Singing 


0.1 
12  3  4  5  6 

11  "  11    I    11  "        "  «m    I   »i  ■*        «i  I         "  11        .1    I   11        ■■  . 


**  __    ..."        '^ 


m 


F.t 

1 

Mi      o 

— o— 

2 

p 

o 

3 
-f- 

**    o 

4 

""o      1 

— • — ; 

5 

-n-^ 

-1— 

6 

— 1- 

t-u 

7 

— i 

*>           " 

< 

;=^ 

g= 

^^ 

o 

°       1 

.        .»   °     1 

8 

9 

■•■  „ 

10 

■^   o 

*Jt     * 

g= 

^^ 

i=* 

^  1° » 

**    i 

'      -  1 

^-:.J     .:    CHAPTER  III        ' 
Meter  and  Rhythm 

Meter  or  Time  in  music  is  the  regular  pulsation  which  is  made 
by  a  feeling  of  stress  or  accent  followed  by  a  period  of  relaxation 
or  non-accent.  If  we  are  walking  and  a  band  plays  we  immediately 
keep  time  with  the  pulse  of  the  music. 

There  are  three  fundamental  meters  in  music: 

Duple,  having  an  accented  followed  by  an  unaccented  pulse 

or  beat. 
Triple,  having  an  accented   followed  by  two  unaccented 

pulses. 
Quadruple,  having  an  accented  followed  by  three  unaccented 
pulses. 

These  three  meters  correspond  somewhat  to  our  breathing. 
As  we  breathe,  the  inhalation  corresponds  to  the  unaccented  pulse  in 
music,  the  exhalation  to  the  accented  pulse.  When  exercising,  the 
periods  occupied  in  inhaling  and  exhaling  are  of  approximately  equal 
duration.  This  corresponds  to  duple  meter.  When  we  are  relaxed 
or  asleep  the  exhalation  is  from  twice  to  three  times  as  long  as  the  in- 
halation. This  corresponds  to  triple  or  quadruple  meter.  It  will  be 
seen  that,  in  each  of  these,  the  breathing  begins  with  the  unaccented 
beat,  or  up-beat.  This  accounts  for  the  fact  that  it  is  more  natural  to 
begin  a  composition  on  the  up-beat.  Music  generally  ends  on  an 
accent. 

Though  this  regular  pulsation  does  not  vary,  there  are  tones 
held  longer  than  the  pulse  or  several  tones  played  upon  one  pulse. 
To  accomplish  this  a  definite  mathematical  value  must  be  assigned 
to  each  pulse. 

Rhythm  in  music  is  the  arrangement  of  tones  of  different  value 
within  the  meter. 

When  notes  of  equal  value  are  used  throughout  a  phrase  the 
rhythm  is  Uniform. 

When  the  value  of  a  note  is  greater  than  one  pulse,  it  is  known 
as  Added  Beat. 

When  the  value  of  a  note  is  less  than  one  pulse,  it  is  known  as  a 
Divided  Beat.  Divisions  of  note-values  are  generally  by  two  or  a 
multiple  of  two. 

A  triplet  is  a  group  of  3  equal  notes  of  the  same  value  as  the 
one-half  subdivision.     The  numeral  3  is  written  under  the  group; 

e.g..   l!V 

1 13) 


14  Ear-Training  and  Sight-Singing 


A  quintuplet  is  a  group  of  5  equal  notes  of  the  same  value  as 
the  one-fourth  subdivision.    The  numeral  5  is  written  under  the 


group;  e.g.,    jJlTO 

Modem  notation  employs  the  following  notes:  o  a  whole; 
J  J  a  half;  j  a  quarter;  J>  an  eighth;  J^  a  sixteenth;  J\  a  thirty- 
second;  J\  a  sixty-fourth.    The  round  part  of  the  note  is  known 
as  the  head.    The  line  drawn  to  the  head  of  the  note  is  the  stem. 
The  curved  line  attached  to  the  stem  is  the  hook.    A  straight, 

heavy  line  connecting  the  stems  of  notes  is  called  a  beam :  JJ  J  J 

To  show  passage  of  time  in  music  when  there  is  nothing  to  be 
played,  we  use  symbols  known  as  Rests,  which  corresp)ond  in  value 
to  the  notes. 

^-  I  >   I  ^   I      I        I    f^ 

Whol*       Half      Ovular     Eighth    Sixteenth  Thirty-second  Sixty-fo«rtb 

A  Dot  after  a  note  increases  its  value  one-half;  a  double  dot, 

three-fourths:   J.  a  J    J)     J...  J    J^ 

The  curved  line  connecting  the  heads  of  two  notes  of  the 
same  pitch,  the  second  of  which  is  not  to  be  restruck,  is  called 

a  Tie:    J    } 

The  stressed  and  relaxed  pulses  of  a  meter  may  be  arranged 
in  any  order.  A  Bar  is  drawn  across  the  staff  to  show  the  accented 
pulse  of  the  meter.  The  group  of  stressed  and  relaxed  pulses 
which  forms  the  meter  is  a  Measure. 

Two  figures,  placed  after  the  clef  at  the  beginning  of  the  staff, 
one  above  the  other,  indicate  the  meter  and  rhythm.  The  upper 
figure  indicates  the  meter  or  the  number  of  pulses  in  a  measure. 
The  lower  figure  indicates  the  rhythm  or  the  kind  of  note  which 
receives  a  beat.    This  is  the  Metric  Signature,  or  Time-signature. 

flhif         Thus  I  indicates  that  there  are  two  beats  in   each 
measure,  and  that  a  quarter-note  receives  one  beat. 


Meter  and  Rhythm  15 


Half,  quarter  and  eighth-notes  are  commonly  used  as  units  of 
Rhythm.  We  may  have  2/2,  2/4  or  2/8;  3/2,  3/4  or  3/8;  4/2.  4/4 
or  4/8. 

Lesson  3 
Section  A. 

Suggestions  for  Study: 

(1)  Write  four  measures  of  2/2,  2/4,  2/8,  making  the  rhythm 
uniform  in  the  first  three  measures  and  with  an  added  beat  (one 

note)  in  the  fourth  measure.     |JJ«JJ«JJ»«« 

(2)  Write  four  measures  of  3/2,  3/4,  3/8,  making  the  rhythm 
uniform  in  the  first  three  measures  and  with  an  added  beat  (one 

note)  in  the  fourth  measure.     ^c)JJ'JJJ<JJJi«*ii 

Section  B. 

(1)  In  training  ourselves  to  determine  the  meter  and  hear  the 
rhythm  it  is  first  necessary  to  maintain  an  even  pulsation  or  beat. 
Count  1-2,  1-2,  1-2,  1-2,  and  try  to  keep  a  steady  rate  of  speed 
(tempo).  Walk  at  a  steady  tempo,  a  step  to  a  beat,  counting  1-2  as 
you  do  so.  A  metronome  is  invaluable  as  a  test  and  a  help  in  this 
practice,  just  as  the  piano  is  in  the  practice  of  pitch. 

(2)  Tap  the  beat  1-2,  1-2,  with  a  pencil,  using  the  syllable 
la;  intone  quarter-note  values  (sing  on  one  pitch).  Tap  the  beat 
and  intone  half-note  values;  hold  the  tone  until  you  have  tapped 
two  beats. 

(3)  Tap  the  beat  and,  using  the  pitches  13  5  8  5  3  1,  sing 
the  note- values  of  the  following  exercises: 


(3  t«^Two  beats  in  »  BMsare.) 

J  s    1   k**t. 

<»     J    J    .  J    J    .  J    J     1 
<b>    J    j    .  J          .  J    J     < 
<e>    j    j    .  J          .J          , 

>     J 

N 
I 
■ 

(d) 
(6) 

J      ^ 

.J      1 
.J 

.J 

(  9  Two  beats  is  a  aeassre.) 

J<  IbMt 

<*>     J    J     1  O            I  J    J     1 

rb)    o         1  e)  -.   1  J   J    ( 

(C)      J     J     1   O             t   J    m>.     \ 

1     o 

1    o 
I     o 

■ 
■ 

16  Ear-Training  and  Sight-Singing 


,H"^.    ^  ,J»tik»»t.       .     _    , ',  _>    ■    ..   .      ^    ■'•/■■..:      .,:■•  ■:^-'         ,;u:-.. 

(«>    J)  J)  I  J         I  J^  J)  I    J    N     Also  wrmea    /I    i  J    i  /^    i   J  .g 

•c)     J         )  j)  >     I  j  I    J     H 


CHAPTER  IV 
Keys  and  Scales 

Tone  is  a  term  applied  to  pitch;  for  example,  the  pitch  C,  or 
the  tone  C. 

Tone  is  also  applied  to  the  distance  from  one  pitch  to  the 
next  upon  the  staff.  There  are  two  kinds  of  tone,  the  half-tone 
or  semitone  and  the  whole  tone.^  A  half-tone  is  the  difference  in 
pitch  between  sounds  made  by  playing  any  two  adjacent  keys  on 
the  piano.    A  whole  tone  is  two  half-tones. 

If  the  successive  pitches  on  the  staff  from  G  to  g*  are  played  on 
the  piano,  it  will  be  found  that  they  are  represented  by  the  white 
keys  of  the  piano.  The  only  white  keys  which  come  together,  with- 
out black  keys  between,  are  E  and  F,  B  and  C;  therefore,  the  dis- 
tance on  the  staff  from  E  to  F,  and  B  to  C,  is  a  half-tone.  The 
distance  between  all  other  successive  pitches  is  a  whole  tone. 

A  Key  is  a  family  of  seven  related  tones.  These  tones  are  all 
derived  from  one  tone,  the  head  of  the  family,  called  the  Key-tone, 
If  a  vibrating  string  gives  the  pitch  C,  and  we  wish  to  find  a  tone 
most  nearly  related  in  vibration,  but  differing  in  pitch,  we  would 
first  divide  the  string  into  halves  and  set  either  half  in  vibration. 


Either  segment 


vibrates  twice  as  fast  and  gives  the  pitch  C,  one  octave  higher. 
Next  try  dividing  the  string  C  into  thirds,  and  set  the  two-thirds  or 
longer  segment  into  vibration.  This  gives  the  pitch  G  or  the 
fifth  tone  above  C.  This  fifth  tone  is  the  most  nearly  related 
tone,  differing  in  pitch,  to  the  fundamental.  In  the  same  way 
the  next  nearest  related  tone  will  be  two-thirds  of  G,  or  a  fifth 
above  G,  which  is  D;  the  next,  a  fifth  above  D,  which  is  A;  the 


next,  a  fifth  above  A,  or  E;  next,  a  fifth  above  E,  or  B. 

Tones  of  Keji 

Conversely,  if  D  is  two-thirds  of  G,  and  G  two-thirds  of  C, 

C  must  be  two-thirds  of  a  tone  a  fifth  below,  or  the  tone  F.     We 

now  have  seven  different  pitches  all  derived  from  C,  and  therefore 

^Also  called  half -step  and  whole-step. 

fl71 


18  Ear-Training  and  Sight-Singing 


related  to  C.    These  pitches  constitute  the  Key  of  C.    C  is  the 
Key-tone. 


When  the  seven  pitches  are  arranged  in  the  progressive  order, 
CDEFGABC,  they  form  a  Major  Scale.  Numbers  are 
used  to  designate  scale-steps,  the  key-tone  being  1,  the  next  2, 
etc.,  to  the  eighth  tone,  which  is  a  duplicate  of  the  first. 

The  staff  is  composed  of  whole  tones  and  half-tones,  the  half- 
tones between  E  and  F,  B  and  C.  As  the  Major  Scale  of  C  and  the 
pitches  of  the  staff  are  the  same,  the  major  scale  must  be  com- 
posed of  whole  and  half-tones,  the  half-tones  between  3  and  4, 
7  and  8.  The  major  scale  may  be  constructed  from  any  pitch. 
If  the  major  scale  is  constructed  from  any  pitch  but  C,  accidentals 
will  have  to  be  used  to  bring  the  half-steps  in  the  proper  places,  as 
the  only  half-steps  on  the  staff  are  between  E  and  F,  B  and  C. 

There  are  five  accidentals  used : 

A  Sharp  (#),  which  raises  the  pitch  one  half-tone. 

A  Flat  (b),  which  lowers  the  pitch  one  half-tone. 

A  Double  Sharp  (X),  which  raises  the  pitch  one  whole  tone. 

A  Double  Flat  (bb),  which  lowers  the  pitch  one  whole  tone. 

A  Natural  (li),  which  restores  a  note  to  its  staff  pitch. 

If  we  start  a  major  scale  on  G,  the  pitches  are  G,  1;  A,  2; 
B,  3;C,  4;D,  5;E,  6;  F,  7;G,  8. 

Now,  in  a  major  scale,  the  half-tones  must  occur  between  3 
and  4, 7  and  8.  There  is  a  half-tone  on  the  staff  from  B  (3)  to  C  (4) ; 
but  from  F  (7)  to  G  (8)  is  a  whole  tone.  Hence,  it  is  necessary  to 
raise  the  pitch  of  F  to  F#,  in  order  that  the  half-tone  shall  fall 
between  7  and  8. 


In  the  same  way,  if  a  scale  is  constructed  from  F,  the  pitches 
areF,  1;G,  2;  A,  3;  B,  4;  C,  5;  D,  6;  E,  7;F,  8.  In  a  fmyor  scale 
the  half-steps  must  lie  between  3  and  4,  7  and  8.  From  A  (3)  to  B 
(4)  is  a  whole  tone,  so  the  pitch  of  B  must  be  lowered  to  Bb.  This 
leaves  a  whole  tone  from  Bb  (4)  to  C  (5),  as  is  needed  from  4  to  5. 


Keys  and  Scales  ■  19 


There  is  a  half-tone  on  the  staff  from  E  (7)  to  F  (8).    The  major 
scale  is  constructed  in  the  same  manner  from  every  pitch. 


a    4    &    «    7 

Besides  numbers,  names  may  be  applied  to  the  tones  of  the 
scale.  As  scale-tones  are  tones  of  a  Key-family  and  are  related 
to  the  head  of  the  family,  or  Key-tone,  so  the  members  of  the 
family  are  named  as  they  are  related  to  the  head.         

The  head  of  the  C  family  is  C,  and  is  named  the,  Tonic.  J  The 


eighth  tone  from  the  Tonic  is  the  Octave.  When  seeking  the 
different  tones  of  a  key,  the  fifth  was  found  to  be  the  nearest 
related  tone  differing  in  pitch.    This  is  the  Dominant,  c**  octi/C  . 

h'  leid/itf  tone. 

^    Jemiiii^i 

If  a  tone  is  placed  on  the  staff  midway  between  C  and  G,  it  is  ,  "  ,^, 
E  or  the  third,  which  is  the  Mediant  or  middle  tone.  As  C  is  /neJu 
on  the  line,  the  fifth  or  Dominant  is  on  the  second  line  above;  soy>   ^^j^ 

F,  the  fourth  tone,  which  is  on  the  second  line  below,  must  be  the  J^^^f 
Dominant  below,  or  the  Subdominant.       If  A,  the  sixth  tone,  is 
placed  midway  between  the  Tonic  and  Subdominant,  it  will  be 

the  middle  tone  below,  or  the  Submediant.  D,  the  second,  the  tone 
above  the  Tonic,  is  the  Supertonic  or  Second  Dominant.  B,  the 
seventh  tone,  which  progresses  into,  and  seems  to  prepare,  the 
Tonic,  is  the  Leading-tone. 

There  are  two  kinds  of  half-tone  progressions : 

(1)  The  half-tone  progression  from  a  tone  of  one  letter  to  a  tone 
of  another  letter.    This  is  a  Diatonic  Half-tone.     E  to  F  is  diatonic. 

(2)  The  half-tone  progression  from  one  tone  to  another  of  the 
same  letter,  the  pitch  having  been  changed  by  an  accidental. 
This  is  a  Chromatic  Half-tone.     E  to  Eb  is  chromatic. 

Section  A.  Lesson  4 

Suggestions  for  Study: 

(1)  Construct  in  the  treble  and  bass  the  Major  Scales  of  C, 

G,  F,  D  and  Bb,  using  accidentals  to  establish  the  whole  and  half- 
steps  in  the  proper  places. 


JO  Ear-Training  and  Sight-Singing 


(2)  Write  in  the  treble  and  bass  the  following  scale-steps  in  the 
keys  of  C,  G  and  F,  using  accidentals: 

12  4  3  6  5  7  8  • 

8  7  8  3  5  4-32657  8321 
...:,  -. .  8  5  7  8  6  4  2  3  16  5  7  8 

..  .•  .  14  3  2  13  5  6  5  7  8  2  3  2  8*  ,r 

*NoTB.    The  line  under  a  figure  indicates  that  the  scale-step  is  above  eight. 
The  line  over  a  figure  indicates  that  the  scale-step  is  below  one. 

(3)  Learn  the  terms  applied  to  scale-steps. 

>-'■  (4)  Learn  the  names  of  the  pitches  of  1,  3,  5,  8,  of  the  above 
keys.     (Example:  The  5th  of  D  is  A ;  the  3rd  of  Bb  is  D ;  etc.) 

(5)  Arrange  the  following  pitches  in  the  key  of  C  in  four 
measures,  using  a  half -note  as  the  rhythm;  the  rhythm  uniform 
for  the  first  three  measures;  an  added  beat  in  the  fourth  measure; 
set  the  proper  metric  signature  after  the  clef: 
15  3  4  3  5  8 
13  5  3  5  8  2  8  7  8  ) 


Section  B. 

(1)  Sections  of  the  Scale  between   1,  3,  5  and  8.    Method  of 
practising  the  following: 

(a)  Play  1,  3,  5,  8  from  C. 

(b)  Think  the  sound  of  the  first  group. 

(c)  Sing  it,  first  by  number,  next  by  letter. 

(d)  Play  it  as  a  test  of  accuracy. 

(e)  Represent  on  staff  in  both  clefs. 

Repeat  this  method  with  each  group.    Then  sing  through  the 
entire  list,  as  written,  reading  from  the  representation  on  the  staff. 

1  2  3  and  3  2  1 

13         1231358   123321       1321 
123        12313      1235321      132135 
1235       12353      123585321   132151 
12358     12351  13215321 

1233558   1235358  1532  1 

1832  1 


Keys  arid  Scales 


ti 


3 

35y-""'-rr^-   -345  8;,  ^ 
3  4  is       345  18 
3453  1     345  13 
3  4  5  3  8     3  4.5  1  5 
345  1      345  8  1 

5  6 
SB     \         56  7  8  15 
5  6  78    5  6  785 
56781   585678 
5^7813  5356  7  8 
5678  3   56  7  8531 

These  groups  should 
first  tiay;  F,  as  1,  the  next 


4  5  and  5  4  3 

345  83  / 
345  8  5' 
3  13  4  5 
3  5  34.5  r 
38345 
7  8  and  8  7  6  5 

5  6  78835 
5  6  7  8  5  3  8 
8385  6  7  8 
5  18  5  6  7  8 
5  1  3  5678 


3i4  5543T;. 
3  8  5;"4  3 
54353  . 
3  5  43  5  UJ. 


58  765  8  7  6535 

538765  87  6  538 
518765  85  8  765 
5  8?  6  5  3  1  83  8  7  6  5 
8  7  6  5  3  1  8 1 876  5 
be  practised  daily,  using  C,  as  1,  the 
day;  and  G,  as  1,  the  day  after.         ■. 


(2)  Exercises  in  Sight-Singing: 

Note.     Read  exercise  mentally  before  singing. 


■e-  t>    «* 


22 


Ear-Training  and  Sight-Singing 


27 


28 


F.i 


■■..^■'"..  ..    In..  ..   0..".."^" ^ 


"  ■«  o  ^"^ 


■^.  w~ 


4    ^     "      ^ 


o         "         "        "         «» 


!■         11      =g= 


l-flnooooll""   "    °''    °   "^ 


Section  G. 

(1)  After  some  practice,  study  the  groups  of  Section  B  in 
the  following  manner,  using,  for  example,  1,  3,  4,  5: 

(a)  Sound  C  on  the  piano;  think  and  sing  1,  3,  5,  8. 

(b)  Think  and  sing  1,  3,  4,  5,  by  number  and  letter-name. 

(c)  Sound  G;  call  it  1.    Think  1,  3,  5,  8.    Think  1,  3,  4,  5; 

sing  and  test  on  piano. 

(d)  Sound  F;  call  it  1.    Think  1,  3,  5,  8.    Think  1,  3,  4,  5; 

sing,  and  test  on  piano. 


Keys  and  Scales 


23 


(2)  Practise  these  groups  as  follows: 

(a)  Sound  the  key-note. 

(b)  Think  1,  3,  5,  8;  sing  it. 

(c)  Recite  the  numbers  of  the  group;  try  to  think  the  sounds. 

(d)  Sing  the  numbers;  test  on  piano. 

(e)  Recite  and  sing  letter-names. 

These  groups  should  also  be  used  for  dictation.  Have 
someone  help  you  by  playing  them  on  the  piano.  They  should  be 
dictated  as  follows: 

(f)  Play  1,  3,  5.  8. 

(g)  Play  the  group. 

(h)  The  listener  should  sing  the  group  in  order  to  memorize 
it,  using  the  syllable  la;  then  he  should  write  down 
the  numbers  from  memory,  and  finally  place  the 
pitches  on  the  staff;  use  both  clefs. 

(i)  Compare  what  was  written  with  what  was  played.  If 
there  is  a  mistake,  sing  the  correct  and  incorrect 
versions  several  times  until  you  realize  the  error. 


10 


S4r 


Ear-Training  and  Sight-Singing 


^jfcfc 


O      II 


*    <h    »1    ^ 


9  10  11 


12 


13 


F.l 
1 


2  3  4 


■  ■■......     I.,   "n^o    ■■     !■■         ■■    "    -^ 


2  ja  3 

♦bn    o     ,olif>    •*•  —  —  ■**■■«•     ,  ♦1.^    a    •*•    o 


*fc      ^    "     0  = 


♦  l.«         ♦  S  S  ♦  ft  ♦  *^       ^L 


Keys  and  Scales  %6 


(3)  Study  3/4  meter  exactly  as  you  studied  2/4. 

Count  1,  2,  3;  1,  2,  3;  1,  2,  3;  1,  2,  3,  maintaining  a  steady 
tempo. 

Sing  a  tone  to  each  beat;  also  walk  a  step  to  each  beat. 

Sing  one  tone  and  tap  three  beats.  This  sound  is  represented 
thus:  J. 

Tap  1,  2,  3,  and  sing  the  following: 


(a) 


.t«  J  J  J  .J  J  J   .J  J  J   .J.  ,. 

<(c    J.  ,J   J   J    ,J.             ,J  J     ,)                                      *        ® 

!<>)    d   d   J  I  O'            4  d   el   J    I  o*  U  v 

(I»o>  iJJeJiJJe/io*  »>     Write  la  ^ud  I 
(Ojj^lo        -.ij^elio*.!' 

(  "*    "[S  '  •'■             *^^    ^  *J'  ■  ) 

Jj(W    /n  I  J"7^    I  J        >    I  J.  nj     Wrltau{uid| 


Lesson  5 

Section  A. 

Suggestions  for  Study: 

(1)  Construct  the  Major  Scale  in  the  treble  and  bass  from 
C#,  Db,  E,  Eb,  F#,  Gb,  Ab,  A  and  B.  Use  accidentals  to  bring 
the  whole  and  half -steps  into  their  proper  places. 

(2)  Indicate  on  the  staff  the  following  scale-steps  in  the  treble 
in  the  keys  of  D,  Bb  and  A:  1   5  3  6  5  4  3  5  8  7  8. 

(3)  Indicate  on  the  staff  the  following  scale-steps  in  the  bass 
in  the  keys  of  Eb,  E  and  Ab:  1  4  3  2  6  5  4  3  5  8  7  8. 

(4)  Indicate  on  the  staff  the  following  scale-steps  in  the  treble 
in  the  keys  of  B,  Db,  F#:  8  5  7  8  6  4  3  2  5  7  1. 

(5)  Arrange  the  following  pitches  in  the  key  of  A  Major,  in 
four  measures  of  a  quarter-note  rhythm,  the  last  measure  to  be  an 
added  beat  of  one  note: 

134432327  1. 
8  5  8  3  5  7  1. 


«6 


Ear-Training  and  Sight-Singing 


Section  B. 

(1)  Play  C.  Sing  12  3  4  5  6  7  8.  Repeat,  singing  the 
letters  CDEFGABC.  Sing  the  scale  from  G,  first  using 
numbers,  then  letters. 

What  accidental  is  required?  Why?  Always  name  the  acci- 
dental when  you  call  that  tone  by  its  letter-name. 

(2)  Turn  to  the  groups  of  numbers  on  page  20,  Lesson  4, 
Section  B,  and  sing  by  letter-name,  using  G  as  1.  Write  in  both 
clefs. 

(3)  The  following  exercises  are  for  singing  and  for  practice  in 
dictation : 

(a)  Sing  by  numbers. 

(b)  Dictation:  1.     Sing  the  group  of  tones  played  on  the 

piano,  using  la,  in  order  to  memorize  the  sound. 

2.  Think  the  numbers. 

3.  Write  the  pitches  on  the  staff  in  key  of  G. 

4.  After  you  have  written  the  pitches  on  the  staff,  sing 

them  by  number. 


# 


1 


dfcfc 


m 


«  Q- 


Keys  and  Scales 

27 

4 

T-n ** — O — r 

5 

6 

^ - 

1 

! — "J — o— 

1 

7 

„      o      o     „     "^     **•    "      o      „       1   X 

'  it**   ii 

— o 

^^ 

Section  C 

(1)  The  Study  of  2/4  with  Pitches. 

The  following  exercises  are  for  practice  in  dictation : 

(a)  Have  someone  play  the  melody  several  times  until  you 

can  remember  it. 

(b)  Test  your  memory  of  the  melody  by  singing  it,  using  la, 

and  tapping  the  beat. 

(c)  Analyze  the  rhythm.     Each  melody  is  a  phrase. 
Represent  the  note-values  without  pitches.     Example: 

No.  1  would  be  represented  thus:  I  ,   ,     »  4     ,  ,      t*  " 

(d)  Analyze  the  pitch.     Write  the  numbers. 

(e)  Represent  on  the  staff. 

Sometimes  you  can  vary  this  practice  by  writing  the  exercise 

in  a  different  key  and  note-value,  and  by  writing  it  on  the  bass  staff. 

NoxB.  After  singing  the  melody  as  indicated  in  Step  B,  above,  make  it  a 
habit  to  think  sound.  Never  hum  the  melody.  If  your  memory  of  it  fails, 
have  it  played  again. 

1     C  =  i  2  3 


£8 


Ear-Training  and  Sight-Singing 


If  you  cannot  find  someone  to  dictate  these  melodies  to  you, 
memorize  them  by  singing  them  several  times,  using  la.  Then 
proceed  as  indicated  above,  analyzing  the  rhythm  and  pitch,  and 
representing  on  the  staff. 

(2)  Exercises  in  Sight-Singing: 


1     C.I 


f|vjjijjijji  iijjii  ii"i  'i"ii  iijji  II'  r 


CHAPTER  V 
Key-Signatures 

We  have  found  that,  in  writing  music  in  any  key  but  C,  there 
are  tones  which  must  be  altered  by  accidentals  in  order  to  produce 
the  correct  form  of  the  major  scale.  Instead  of  writing  the  acci- 
dentals before  these  tones  each  time  they  recur,  they  are  placed 
at  the  beginning  of  the  staff. 


The  accidental,  or  group  of  accidentals,  at  the  beginning  of 
the  staff  is  called  the  Key-Signature. 

The  number  of  sharps  or  flats  denotes  the  Key. 
In  the  series  of  the  major  scale  tonics  constructed  on  the  tones 
found  by  dividing  the  string  C  into  thirds,  each  new  tone  is  a  fifth 
from  the  preceding  tone.     The  tones  above  C  are  G,  D,  A,  E,  B,  F# 
and  C#. 

The  scales  built  upon  these  tones  as  key-tones, 
require  the  use  of  sharps  to  bring  the  half-steps  into 
the  right  place.  These  are  known  as  Sharp  Keys.  Each 
new  key  adds  a  sharp,  which  is  the  seventh  step. 

The  tones  found  below  C  are  F,  Bt»,  Eb,  Ab,  Db 
and  Gb.  Scales  built  upon  these  tones  as  key-tones 
require  flats  to  bring  half-steps  into  the  right  place, 
and  are  known  as  Flat  Keys.  Each  new  key  adds  a  flat,  which 
is  the  fourth  step. 

The  most  comprehensive  arrangement  of  these  key-tones  is 

shown  upon  a  clock-face,  placing 
C  at  twelve  o'clock,  each  new 
sharp  key  an  hour  to  the  right, 
and  each  new  flat  key  an  hour  to 
the  left.  The  hour  at  which  the 
key  occurs  gives  the  number  of 
sharps  or  flats  in  the  signature. 
A  is  at  three  o'clock  (halfway), 
and  has  three  sharps  in  its  sig- 
nature; Eb  is  halfway  on  the 
other  side,  and  has  three  flats 
in  its  signature. 
1291 


D2lt 


A3# 


E4# 


'h[^t  ^« 


80  Ear-Training  and  Sight-Singing 


Gb  and  F#  occur  at  the  same  place,  also  Db  and  C#,  and  Cb 
and  B.  If  the  scale  from  Gb  and  F#  is  played  on  the  piano  the 
same  (piano)  keys  are  used.  The  same  is  true  of  Db  and  C#, 
Cb  and  B.  For  every  flat  key  there  is  a  sharp  key;  thus,  Ab  is  G#, 
Eb  is  D#,  F  is  E#.  Conversely,  every  sharp  key  has  a  flat  key. 
In  either  case  there  result  keys  with  double-sharps  and  double-flats. 
This  is  found  to  be  impracticable  on  account  of  the  difficulty  in 
reading.     Compositions  are  seldom  written  in  Gb  or  C#  major. 

The  accidentals  used  in  a  key-signature  are  arranged  in  the 
order  in  which  they  occur  as  the  new  keys  are  constructed.  Each 
accidental  is  placed  a  little  to  the  right  of  the  preceding  accidental 
and  in  a  definite  position  on  the  staff.  The  first  sharp  key  is  G, 
adding  F:}f,  which  is  placed  on  the  fifth  line  of  the  treble  and  fourth 
line  of  the  bass;  the  next  key  is  D,  adding  C#,  placed  in  the  third 
space  of  treble  and  second  space  of  bass;  the  next  key  is  A,  adding 
G#,  placed  in  the  space  above  treble  and  fourth  space  of  bass.  Each 
succeeding  key  adds  a  sharp.  The  sharps  are  arranged  as  in  the 
illustration. 


The  first  flat  key  is  F,  adding  Bb,  which  is  placed  on  the  third 
line  of  the  treble  and  second  line  of  the  bass;  next  Bb,  adding  Eb, 
etc.     The  flats  are  arranged  as  in  the  illustration. 

It  is  necessary  to  learn  the  names  and  number  of  sharps  or  flats 
in  the  key-s'gnatures.  To  tell  the  key  from  the  signatures,  the  last 
sharp  in  the  signature  is  the  seventh  of  the  key.  If  the  last  sharp 
is  A#,  the  key  is  B.  The  name  of  the  next  to  the  last  flat  in  the 
signature  is  the  name  of  the  key. 

Lesson  6 
Section  A. 

Suggestions  for  Study: 

(1)  Write  in  the  treble  and  bass  the  1,  3,  5,  8  of  all  major  scales, 
using  signatures. 

(2)  Study  the  position  of  the  keys  upon  the  clock-face;  then, 
looking  at  the  clock,  recite  the  keys  in  order.     Name  keys,  jumping 


Key-Signatures 


81 

=3 


to  different  hours.     In  this  way  the  number  of  sharps  or  flats  in  the 
signature  will  become  familiar. 

(3)  Learn  to  recite  the  sharps  in  the  order  in  which  they  occur: 
F#,  Q,  G#,  D#,  A#,  E#  and  B#. 

Learn  to  recite  the  flats:  Bb,  Eb,  Ab,  Db,  Gb,  Cb  and  Fb. 

(4)  Learn  to  determine  quickly  the  key  from  the  signature. 
Make  each  sharp  the  last  of  a  signature  and  recite  the  pitch  one 
half-tone  higher,  as:  F#,  G;  C#,  D;  etc. 

Section  B. 

(1)  Review  exercises  of  Lesson  2,  Sections  B  and  C,  page  8, 
also  Lesson  4,  Sections  B  and  C,  page  20,  singing  numbers  and 
letters,  using  C,  F  and  G  as  1. 

(2)  The  following  exercises  are  for  singing  and  dictation: 

(a)  Sing  by  numbers  and  letters. 

(3)  Dictation: 

(a)  Sing  the  group  of  tones  played  on  the  piano. 

(b)  Think  the  tones  and  numbers. 

(c)  Write  the  pitches  on  the  staff. 


32 


Ear-Training  and  Sight-Singing 


•^a.  s  «. 


10 


m 


r...  |"o.."..o..  1".."....^^ 


Section  G. 

(1)  Study  of  3/4  with  pitches. 

The  following  exercises  are  for  practice  in  dictation.     Work 
according  to  directions  given  in  Lesson  5,  Section  C,  page  27. 
1  2  3 


(2)  Exercises  in  Sight-Singing: 

1  2 


Key-Signatures 


33 


8  9 


CHAPTER  VI 
Rest  and  Active  Tones 

In  every  scale  there  are  certain  degrees  upon  which  we  may 
stop  and  feel  at  rest,  and  others  which  seem  to  the  ear  to  demand 
progression  or  resolution. 

If  a  melody  ends  upon  the  first  or  the  eighth  degrees,  it  is 
finished;  if  it  ends  upon  the  third  or  the  fifth,  it  is  finished, 
though  giving  the  impression  of  an  upward  or  questioning  inflection. 
Try  to  end  a  melody  upon  the  seventh  degree,  and  the  ear  demands 
that  the  eighth  follow;  upon  the  sixth  degree,  and  the  fifth  must 
follow;  upon  the  fourth  degree,  and  the  third  must  follow.  The 
second  degree  seems  to  progress  either  to  the  third  or  the  first. 

The  tones  1,  3,  5  and  8,  upon  which  a  melody  may  end,  are 
Rest  Tones  or  Inactive  Tones. 

The  tones  2,  4,  6  and  7,  which  demand  resolution,  are  Active 
Tones. 

In  science,  all  active  particles  seek  the  nearest  rest.  In  music, 
all  Active  Tones  seek,  or  resolve  to,  the  nearest  Rest  Tones. 

Lesson  7 
Section  A. 

Suggestions  for  Study: 

(1)  Learn  the  Rest  Tones  in  every  key,  i.  e.,  1,  3,  5,  8,  from 
every  pitch.     Example:  D,  F#,  A  and  D;  Eb,  G,  Bb,  Eb. 

(2)  Make  each  of  the  following  tones  the  7th  of  a  scale; 
resolve  them,  and  name  the  key  to  which  each  belongs:  B,  G#,  D#, 
F#,  A#,  C#,  E#,  E,  D,  A,  C,  G,  F,  B#. 


Example :  § 


(3)  Make  each  of  the  following  the  6th  of  a  scale;  resolve, 
and  name  key:  A,  Eb,  E,  Bb,  Fft,  C,  B,  F,  C#,  G,  D#,  G#,  D,  Ab. 

Example : 

(4)  Make  each  of  the  following  the  4th  of  a  scale;  resolve, 
and  name  key:  F,  D,  G,  C,  Ab,  Cb,  A,  E,  Eb,  Gb,  B,  Db,  Bb,  Fb. 


Example : 

c 

1341 


Rest  and  Active  Tones  35 

Section  B. 

(1)  Activity  and  Rest:    Study  of  the  7th  Step. 
Play  13  5  8. 

Play  13  5  8  7. 

Compare  the  effect  of  the  first  with  the  second.  The  first  is 
final  or  satisfying  in  its  effect.  The  second  is  the  opposite.  When 
we  pause  on  7  we  feel  that  it  must  go  to  8. 

13  5  and  8  represent  rest.  Any  other  tone  is  active  and  must 
progress  (resolve)  to  one  of  the  rest  tones.  Play  the  following, 
pausing  on  7,  and  then  carry  it  forward  to  where  you  feel  it  should 
go: 

8  7;   1  2  3  2  1  7;   5  3  1  7;  5  8  7. 

You  may  always  recognize  7  by  its  strong  tendency  to  resolve 
to  8. 

(2)  Study  of  the  2nd  Step. 
Play  5  3  1. 

Play  5  3  2.  If  you  pause  on  2  you  will  feel  its  tendency  to  go 
down  to  1. 

Play  5  3  2  1. 

Play  5  3  2  3.  This  also  is  a  possibility,  as  2  may  go  to  either 
1  or  3,  because  both  1  and  3  are  rest  tones.  However,  2  is  most 
easily  recognized  by  its  downward  tendency  to  1. 

(3)  (a)  Sing  the  following,  (b)  Place  on  the  staff,  treble  and 
bass  clefs,  in  C,  F,  G.  (These  tones  on  staff  may  be  referred  to 
later  and  sung  by  number  and  letter.) 

151     132171   154321711321  1538321 

171     1323  15  11358  17  1   1323  1532321 

1 35  15  1  1323 1 Tl  1  8  1  7  1     135323  1831321 

13171   13551    15171     13  5  8  3  2  3  18  3  5  3  2  3 
13215113571    13171     1532358 

32151   3171     35171      3835171  355171 
32171-3151     35151      3855571  358171 

53151  513151  538171  58135 
53171  513171  517181  57  123 
5  17  1    58  17  1    57135     571 


S6 


Ear-Training  and  Sight-Singing 


3232  1 

3212323  3132358 

3532121 

3  1231 

32358    3532383 

383235  1 

3235  1 

358323   3121231 

3212158 

32353 

3  2  12  12  3 

5323  1 

5835323  58131 

5  13  13  23 

5  8  3  2  8 

532  1 

53121     5121321 

5  8  12  12  3 

583  23 

532358 

58121     5835321 

5  828582^ 

132171 

582878   3582858 

5  8  78 

31217121  5832878  3583858 

8  12  1 

13532171  5121571  35832878 

8  17  1 

1517121    3123171  5157121 

5323  17  1 

35323171            571215828 

53  1235  1 

(4)  The  following  should  be  studied  in  two  ways: 

(a)  Sing  by  number  and  letter;  then  with  la;  memorize; 

then  write  in  another  key. 

(b)  Dictated;  sung  with  la;  sung  by  number  and  letter; 

represented  on  the  staff  in  C,  F  or  G. 


Rest  and  Active  Tones 


87 


15 


Si 


16  17 

o    «' 


18  19 

o    o    O  .  O    o    f>  „     ^ 


I     °"  I 


(5)  The  Study  of  J     J  in  I- 

(a)  Tap  the  beat. 

(b)  Sing  the  rhythm. 


38 


Ear-Training  and  Sight-Singing 


§J  J  J  .J      J   .c) 

J      J  .J      J  .J 

I  .J  J  J  .J 

J  J  J  .J      J  .J  ^ 

J      J  .J  I  J  .J 

eJ        J  .J        J    .J   i 

(6)  Study  the  following  exactly  as  outlined  on  page  27. 

1  Key  of  C  2  K»y  of  O 


It  is  also  good  practice  to  rewrite  each  exercise,  after  memori- 
zing, in  another  Key  and  another  time-value. 

Thus  1  may  be  rewritten  in  G,  in  3/2;  2  in  C,  in  3/8;  3  in  F, 
in  3/8;  4  in  F,  in  3/2;  5  in  C,  in  3/2;  6  in  C,  in  3/8;  7  in  G,  in  3/4; 
8  in  G,  in  3/2. 

(7)  Exercises  in  Sight-Singing: 


1                    2                             3 

■fSj o     "       1      ...           Q     "     **     "                       =^= 

4                          6 
^-'^l              "   o    "    1         _    o    "     1 

^6                       7                   8 

I___e "-^^^--o ■ 

9                             10 

^           ■■    o    "      1          o     "      1          o     „    "     ■*     "      1           O     -     «    "      1                       ^ 

^11                               12                          13 

♦                           ♦  X,  ♦ 

14 

tjtl           „                          i          „                    la**                                1          °                          1 

.15                  16                   17               18 

19               20 

4    ■      L        L      le        i»      i"^" 1 

^21                      22                                  23 

24 

*    -    "    ■          1  ,    *    "    >               1  ^   "               1   , -                     1 

«r              ♦                    »•• 

~  ^                                 ^  xr  ^ 

Rest  and  Active  Tones 


S9 


40 


Ear-Training  and  Sight-Singing 


Section  C. 

(1)  Study  of  6  and  4  as  Active  Tones 

(a)  Play  13  5  3  1. 

Play  1  6.     Pausing  on  6,  you  will  feel  the  tendency 
to  resolve  to  5. 
Play  16  5  and  feel  the  activity  coming  to  rest;   6  may  al- 
ways be  recognized  by  its  downward  tendency  to  5. 

(b)  Sing  the  following,  always  pausing  on   6   to  feel  its 

activity  : 

13565  3565  5658  5651      16571 

1565  38565  58565  5878565 

16531  31565  53565  3565321 

1654321  3165  56571  3565323 

1658  3513565  565828  1653121 


(c)  Play  12  3  2  1. 

Play  1  4.     Pausing  on  4, 
tendency  toward  3. 

131  1343143  834321 

1343  143  17  1 

1432  1  143121 

143  1  153  143 

15343  1435828 


you  will  feel  its  downward 


85  3  43 
85  35343 
8343 
83  5  343 
8343  2  1 


5  12  3  43 
5  143 
5  7  13  1 
5  7  143 
5  12  1343 
5  12  143 


8543 
8  7  8343 
14321 
3  4323 
7  143 
3  8343 


(d)  Sing  4  and  6  in  same  groups; 
143  1  8343565  5435658 

16531  514365  5143165 

1343565      57143565         8165143 
143  165 


3  165143 
3  2343 


We  have  now  completed  a  detailed  study  of  each  of  the  active 
tones.  One,  the  7th  step,  has  a  decided  and  very  strong  activity 
upward  to  8. 

The  other  three  active  tones  all  have  a  downward  tendency 
to  1,  3,  or  5.     Therefore  it  is  obvious  that  only  by  a  definite  assur- 


Rest  and  Active  Tones 


41 


ance  that  the  tone  of  resolution  is  1,  3  or  5,  can  we  be  sure  that  the 
tone  in  question  is  2,  4  or  6. 

For  this  reason  it  is  good  practice  continually  to  review  the 
groups  which  contain  only  1,  3,  5  and  8.  Make  it  a  daily  habit 
to  sing  1  3  5  8,  in  order  that  you  may  become  positive  in  your 
determination  of  1,  3,  5  and  8.  Thus  you  will  solve  the  next 
question,  because  at  the  same  time  you  will  become  positive  of 
7,  2,  4  and  6. 

(2)  Exercises  for  Singing  and  Dictation: 
Study  of  the  6th  Step. 


42 


Ear-Training  and  Sight-Singing 


Study  of  4th  Step. 


(3)  Melodies  for  Singing  and  Dictation: 

1  2 


'  f  J  N  n  I  r  IF  r  I  J  II  I I  ^ 

'>i/rr  ir  tfH^ii'  iirrir  irr  II'  irf  if  fr^^ 
'M  f  111  Iff  i['  i  r  pr  iFf  II  III  [T  irr  II  I 


Rest  and  Active  Tones 


43 


The  above  should  be  memorized  and  rewritten  in  different 
keys  and  time-values,  as  suggested  before  on  page  38. 


(4)  Exercises  in  Sight-Singing: 


1  J^i  I.N  J  IjJ.i  I  J.  IjJ  J  IjjJ  U  J  Ij.  I 


44  Ear-Training  and  Sight-Singing 


CHAPTER  VII 

The  Minor  Mode 

The  term  Mode  means  style  or  manner.  In  music  it  applies 
to  the  arrangement  of  the  whole  and  half-steps  in  the  scale.  We 
commonly  use  the  Major  Mode  and  the  Minor  Mode;  major 
meaning  greater;  minor,  lesser. 

The  Minor  Mode  is  formed  by  lowering  by  one  half-tone  the 
third  and  sixth  degrees  of  the  Major.  The  general  impression  of 
the  minor  mode  is  that  it  is  sad  and  gloomy,  while  the  major  is 
bright.  This  may  be  somewhat  true,  yet  one  of  the  most  sad  and 
impressive  of  funeral  marches,  the  march  from  Handel's  Said,  is 
in  major.  Many  of  our  gay  and  popular  tunes,  like  the  Irish  and 
Scotch  dance-tunes,  are  in  minor. 

The  Minor  Scale  is  formed  by  lowering  the  third  and  sixth 
degrees  of  the  major  scale.  This  brings  the  half-steps  between  the 
second  and  third,  fifth  and  sixth,  seventh  and  eighth  degrees.  C 
major  and  c  minor  have  the  same  letters  for  each  degree;  the 
pitch  of  the  third  degree  (E  in  major)  is  changed  to  Eb  in  minor; 
of  the  sixth  degree  (A  in  major)  is  changed  to  Ab  in  minor.  The 
first,  second,  fourth,  fifth  and  seventh  degrees  remain  the  same. 

Rest  Tones  (13  5  8)  are  the  same  in  major  and  minor. 

Active  Tones  (2  4  6  7)  are  the  same  in  major  and  minor. 
They  resolve  in  the  same  manner. 

Capital  letters  are  used  for  major,  small  letters  for  minor  (C 
major,  c  minor). 

E^ch  major  scale  may  be  made  minor  by  lowering  the  third 
and  sixth  degrees. 

Major  and  minor  scales  with  the  same  Tonic  are  Parallel 
Major  and  Minor  Scales. 


Lesson  8 
Section  A. 

Suggestions  for  Study: 

(1)  Write  the  major  scale  from  all  pitches  in  treble  and  bass 

[451 


46 


Ear-Training  and  Sight-Singing 


with  major  signature.     Make  them  minor  by  lowering  one  half- 
tone the  third  and  sixth  steps.     Example: 


(2)  Make  the  following  major  melodies  minor. 


(3)  Complete  the  following,  the  second  measure  with  an 
added  beat  on  accented  pulse,  the  third  measure  with  a  divided 
beat.  (The  first  measure  shows  the  meter  and  rhythmic  unit.) 
Review  Chapter  III  for  Added  and  Divided  Beats. 

d      d       I  JiJ  loll 

J  J  J  .     i>J  iJ  /3     .  J.  I. 

m  .  J)  I  •h  /3       i    J.    n 


Section  B. 

(1)  Minor  Mode: 

(a)  The  minor  scale  of  c  is  derived  from  the  major  scale  of 

C  by  lowering  the  3rd  and  6th  steps. 
Sing:     1  2345678  in  C;    sing  it  again,  lowering 

the  3rd  and  6th.  The  result  is  c  minor. 
Sing:  8  7  6  5  4  3  2  1,  first  in  C,  then  in  c. 
Practise  the  scale,  first  in  major,  then  in  minor,  ascending  and 
descending  from  any  pitch.  The  minor  can  be  clearly  understood 
only  by  constantly  comparing  it  with  the  major  mode  of  the  same 
name.  Thus,  C  major  and  c  minor,  and  G  major  and  g  minor; 
F  major  and  f  minor;  etc. 

(b)  Sing  1  3  5  8  in  C  major;  make  it  minor  by  lowering 

the  3rd. 
Sing  8  5  3  1  in  the  same  way. 
Play  1  3  1  7  1  in  major;  make  it  minor  by  lowering 

the  3rd.     Pause  on  7.     It  will  resolve  as  in  major. 


The  Minor  Mode  47 


Play  1  3  1  2  in  major  and  minor.     2  will  resolve  to  1 

or  3  in  minor  as  in  major. 
Play  13  4  3         14  3. 

Play  13565     165;4  and  6  resolve  the  same. 
C  major  and  c  minor  are  two  expressions  or  modes  of  the  same 
key.     The  difference  between  the  modes  is  superficial;  the  likeness 
is  fundamental. 

(2)  (a)  Sing  each  of  the  following  groups  first  in  major  and  then 
in  minor,  lowering  the  3rd  and  6th.  Sing  each  several  times,  chang- 
ing from  major  to  minor  and  from  minor  to  major,  until  you  realize 
the  similarity  of  effect  and  at  the  same  time  the  difference  in  the 
color  or  quality.     As  before,  use  the  piano  as  a  test  of  accuracy. 

13531  1356531  1565171  1214321 

1234531  13565  134321  1853123 

1331  1565  1343231  1856531 

15321  12171  156538  8135321 

1551  132171  1713531  8531231 

3213531  343565  3  4  3565828 

3213543  3543171  321543878 

32131  35828  3153131 

34351  3565878  3156538 

5  3  12321  5181321  5121321 

5358531  57131  5  7J.3121 

535  6538  582838  5171351 

5  878531  5878531  571358 

1323171  3154321  5155123 
1543431  3165658  5557131 
56534321  51^65121  3457143 
5432321  5716538  3458543 
5712343  5878543  3171323 
5653121    5828535   5343565 

8  7  8565  1 

8  2  857121 

(b)  After  singing  each  of  the  above  groups  in  major  and 
in  minor,  sing  through  the  entire  series  in  minor. 

(3)  The  following  groups  may  be  sung,  and  also  used  for  dicta- 
tion.    Sing  in  minor  and  also  in  major,  disregarding  the  accidentals. 


48 


Ear-Training  and  Sight-Singing 


Change  the  mode  for  each  group  several  times.     Then  sing  through 
the  entire  series  in  minor. 


16  17  18  19  20  21 

L„ol"»ol        qImIqI       Im.    o     I        "l>l.  o    |o"Im.   o     |"l>..  o    o   "g 


TAe  Minor  Mode 

49 

11  , 

'1      »      o 

12                                            13 
—To    -     L^ e 1    o"*** **     o 

11      o       1 

■^    b 

14 

>  "  » 

— 1 "^°    ■'!,..    " 1 "J 

1 

1 

17 

F^^'^^ 

— 1 1 

18     ^                                        19     bo.   ^ 

1 

r*— O 1 

Section  G. 


Study  of  the  Divided  Beat: 

(1)  Tap  1  2  and  intone  the  following: 


I  J  J  .J  J  .J  J 


Then  divide  the  beat,  tapping  1  2: 


The  meter  or  regular  pulsation  is  always  physical  and  may  be 
represented  by  movement  of  the  arm  or  foot.  All  rhythms,  i.  e., 
subdivisions,  are  mental  and  should  be  thought,  not  indicated  by 
physical  movement. 

Learn  the  arm-movements  down-up  |i  T     to  indicate  the 

beat.     Repeat  the  above,  using  the  arm-movements  instead  of 
tapping. 

Practise  the  following: 

*    I        2  etc 

Down  up 

c   jiji .J  J  .-n/3 .  J  - 
«    J  J  .J  /] ij  /I .  J  • 

r     /3/3.J    /3.J    J       J    . 


50 


Ear-Training  and  Sight-Singing 


(2)  For  Practice  in  Singing  and  Dictation: 
Rhythm  and  Pitch  in  minor. 

12  3 


A^ 


•'n.\\  I"  i"(-^-i..  \\f  I''"  ly  j  i.>  II rT  i"  if^^ 


After  writing,  rewrite  in  a  different  note-value. 

(3)  Exercises  in  Sight-Singing: 

(a)  Sing  each  exercise  in  Major,  using  numbers  and  letters. 

(b)  Repeat,  making  it  minor  by  lowering  the  3rd  and  6th 

steps. 


The  Minor  Mode 


51 


CHAPTER  VIII 
Minor  Signatures 

Minor  Keys  have  no  signatures  of  their  own. 

Composers,  when  seeking  variety,  often  repeat  a  few  measures 
of  a  major  melody,  keeping  the  same  tones  and  major  signature, 
but  make  it  minor  by  lowering  the  third  and  sixth  steps.  For 
example : 


Beethoven 


I  Phrase  in  major 


>.  Repetition  ol  fbrase  ■  maoe  minor  by  towering  C 


Composers,  when  writing  an  entire  composition  in  minor, 
borrow  a  major  signature,  which  lowers  the  third  and  sixth  steps  of 
the  major  key.  This  saves  the  labor  of  writing  accidentals  before 
these  tones.  The  signature  for  the  minor  key  is  borrowed  from  the 
major  key  of  the  same  name  as  the  third  step  of  the  minor  scale. 

As  the   borrowed   signature  lowers 
not  only  the  third  and  sixth  steps  but 
also  the  seventh  step  of  the  major,  it 
will   always   be  necessary  to  raise  the 
seventh  step. 

Major  and  minor  keys  with  the  same  signature  are  called 
Relative  Major  and  Minor  keys. 


21'B'' 


^•^ 


^^ 


^1'^^'^°' 


Note:  C  minor  and  Eb  major  are  not  the  same  keys.  They  are  different 
tonalities,  having  different  rest  and  active  tones.  C  major  and  c  minor  are  the 
same  tonalities,  having  the  same  rest  and  active  tones.  Only  the  mode  is 
changed. 

As  the  major  keys  were  arranged  on  the  clock,  the  minor  keys  may  be 
placed  opposite  the  major  keys  with  the  same  signatures.  The  keys  of  ab,  d^ 
and  a#  minor  are  seldom  used.  G^^  minor,  the  relative  of  B  major,  has  no 
parallel  major  key. 

[521 


Minor  Signatures 


53 


Lesson  9 


Section  A. 


Suggestions  for  Study: 

(1)  Write,  in  the  treble  and  bass,  the  major  scale  from  all 
pitches  with  the  major  signatures.  Make  them  minor  by  lowering 
the  third  and  sixth  steps.  Under  each  write  the  same  minor  scale 
with  the  borrowed  signature.     Raise  the  seventh  step. 


(2)  Place  the  following  scale-steps  in  treble  and  bass  in  keys  of 
a,  e,  b  and  f#  minor,  using  borrowed  signatures:   13  5  6  5  7  8. 

(3)  Place  the  following  scale-steps  in  treble  and  bass  in  keys  of 
c#,  g#,  d  and  g  minor,  using  borrowed  signatures:  8  5  6  5  4  3 
2  5  1. 

(4)  Place  the  following  scale-steps  in  treble  and  bass  in  keys  of 
f,  bb  and  eb  minor,  using  borrowed  signatures:    15  3  6  5  7  8. 

Section  B. 

(1)  Exercises  for  pitch.    To  be  used  for  singing  smd  dictation, 
(a)  Sing  by  numbers. 


54 


Ear-Training  and  Sight-Singing 


db 


10 


11 


i 


I   O     "  "     ■»    11     o       I  o  j|..     »     "        =i 

(2)  Exercises  for  Dictation  and  Memorizing: 

(a)  After  writing  in  major,  alter  to  minor  with  accidentals 
and  sing  in  minor  by  numbers. 

(b)  Write  from  memory  in  minor  with  proper  signatures. 


T  J  J  1 1 J  ij3.n  M  If  r  ij  J  ir  >n  I J  'I 


ji'-ri  1 1  ir  I  ii  I  '  I  '  II I  '  II  '  iri-  '  r  1 

Note.  In  dictating  melodies  with  divided  beats,  first  play  the  melody 
through  with  a  simple  accompaniment  to  establish  the  pulsation  and  tempo.  For 
example,  Nos.  1  and  3  could  be  played  this  way: 


No.l 

m^ 

rHi 

-\ — 

No.  2 

=1= 

^=3=^ 

a- 

-T-f- 

-J — 

r 

K      1 

t= 

-J 1 

^ 

Iq 

t=p 

T    :^  T7T__. 

4=H 

Li_^ 

i^st 

j^ 

t^ 

y^ 

fc 

-:3l= 

^=iy 

After  the  pupil  has  determined  the  meter,  he  should  make  an 
outline  of  the  four  measures,  using  dots  to  represent  the  pulses.  * 


4 


As  the  melody  is  replayed,  place  the  pencil  on  a  dot  at  each 
recurrence  of  the  pulse.  Decide  how  many  notes  there  are  to  the 
pulse,  or  if  there  is  one  note  for  two  pulses.  When  there  is  one 
note  to  the  pulse,  leave  the  dot.     If  there  are  two  notes,  write  2 


Minor  Signatures 


55 


under  the  dot.  If  one  note  for  two  pulses,  tie  the  dots.  The  rhythm 

o 
of  No.  1  would  be  outlined  a     **'••'••<  i     •    ii 


2     2 


After  the  rhythmic  outline  is  made,  write  the  numbers  of  the 
pitches  in  the  usual  way. 

(3)  Exercises  in  Sight-Singing: 


Section  C. 

(1)  The  Divided  Beat  in  3/4. 

Tap  12  3  and  intone  the  following: 

J      J      J       .J      J      J       .J      J 


50 


Ear-Training  and  Sight-Singing 


Dividing  the  beat: 

12S  12<  128  Its 


Arm-movements  for  3/4  are  Down-right-up     I    \ 


Practise  the  following: 

12         3  12  3  etc. 

Down   right    ap,         down  right    np,  etc. 


(b) 

J   J   r: 

.J 

J   /I 

.J   J    ;^ 

r.t 

(C) 

J   JiJi 

.J 

-n-n 

.J    j^/^ 

J- 

(d) 

J   nj 

<  J 

-n  J 

.J.    nj 

J- 

(e> 

J    nfz 

.J 

J   J 

>j    jin 

J- 

<f> 

J   J   j 

./I  71^3 

>j    nsi 

1 

Igi 

J   -nj 

•  J 

-n-n 

.  J   J   /i 

6- 

(h) 

nfiJi 

.  J- 

.rs-n/i 

J. 

<t) 

jifin 

.J 

J 

.nur. 

J- 

ij' 

J        -HeH 

.J 

J 

.J   /i/i 

J- 

(k) 

J   J   /I 

.J 

J 

.J   -n/i 

J- 

(2)   "Exercises  for  Dictation,  Memorizing  and  Singing: 

(a)  After  writing  in  major,  alter  to  minor  with  accidentals. 

(b)  Write  from  memory  with  customary  minor  signatures. 

2 


Minor  Signatures 


67 


(3)  Exercises  in  Sight-Singing: 
1 


58 


Ear-Training  and  Sight-Singing 


j.|''i'/r  1^1  iiJ  U'  ■!  '  '"  I  ''  irrJ;i  I  J  I 


Lesson  10 


Section  A. 


Suggestions  for  Study: 

(1)  Write  the  following  scale-steps  in  treble,  first  in  A  major, 
then  in  a  minor,  lowering  3rd  and  6th  steps  of  major;    then  in  a 


Minor  Signatures 


59 


minor,  using  borrowed  signature:    186534253571. 

(2)  Write  the  following  scale-steps  as  above,  in  the  bass,  first 
in  C  major,  then  in  c  minor:    87835432657832  1. 

(3)  Write  as  above  in  the  treble  in  E  major,  then  in  e  minor: 
857864231657  8. 

(4)  Write  as  above  in  the  bass  in  B  major  and  b  minor:    16  5 
7834235  1. 

(5)  Write  as  above  in  the  treble  in  F  major  and  f  minor:   14  2 
5  3  6  4  2  7  1. 

(6)  Learn  to  recite  the  borrowed  signature  of  each  minor  key. 

(7)  Learn  the  seventh  step  of  each  minor  key. 

Section  B. 

(1)  All  active  tones  may  defer  their  resolution  by  a  skip  of  a 
third  in  the  direction  of  their  normal  resolution. 

Thus,  7  may  resolve  7  2  1,  instead  of  going  directly  to  1. 

Sing  171       3172  1       531721 
12  1       35  172  1      5  831721 
17121     3151721     551721 
1721  58351721 

(2)  Thus,  2  may  resolve  2  7  1,  instead  of  2  1. 

Sing     1321  31271  531271      127135 

12  7  1  351271  53271  127151 

13271  35227_1  551271      327131 

153271        3551271  581271      3271513 

1271358     3151271  583271 

(3)  Repeat  the  above  in  minor. 

(4)  Exercises  for  Singing  and  Dictation  in   major;   then   in 
minor. 


o     ^    ^    ^    o 

5 

6 

"    "    "    ^   ^     ' 

^ 1 1 1 

4fc Ue -\-^ ^ 1 

r. O— 

■»■      XT 

8 
" — 1 

n jc O 

9 
— " — 1 

1 

4=^ 

-«-a-"-°.  -- 

w_^ ,: 

'      O                " 

— ^^— 1 

"      »      "     XT     ^        ' 

CO  Ear-Training  and  Sight- Singing 


10 


12 


<»■  *»   »T  -e- 


# 


tr      "  **    11 


O    *>    «i     o 


I  "    '^    "    ..    o    „     ..      I 


11     o 


Minor  Signatures 


61 


14 
M-  1        o e- 

«^     o 

15 

1  o 

— »-^ 

16 

..     u     o 1   o     >     "      °     ii 

..    o     M 

-^    l> " 

17 
^>  L      »  .. 5 

— »-u 

-1 — 

'    11    o 

18 

'    11    < 

1 

19                        20 
»     1  **  o   ..   "   o     1  **   o   ..   " 

1 

"   «1    o     1 

21 

■  «     o 

22 
-H 

-1 

— n — 

— 1 1 

23 
a. 

n— 5 1 "^    o     "     **     11 

»■    o      1 

■^   t> 

24 

-^'   tr r« " 

25 

-i 

— o^ 

^-Tl-G 

26 

1 

27 

-— 1 

Section  C. 


(1)  Exercises  for  Dictation  in  Major: 

(a)  After  writing,  sing  in  minor. 

(b)  Write  from  memory  in  minor,  using  minor  signature. 
1  2 


13 

a  -                     |ii 

14 

15     ^ 

"!rtif  r  f  irjTrir  ^Ji  i  ii^  rr  \r  rr  ir  r  i  r  v  '  .i^^^ 

1 ^ u 

16 

'    «g — M — *«-- 

_LJ h^ ■               t 

'^^«      m m   .     .. . 

"y  r  rr  1  r  ir  rrirju  ii  rr  i  r  i '   i'^  '-j  irrrx  i  r  i 

* 

18 

IJJJJIJJ 

19 

JlnlrfrJ 

IrJJJlJil 

20 

62 


Ear-Training  and  Sight-Singing 


(2)  Exercises  in  Sight-Singing: 


-tf^fJirr'^N  Jijjj.iJi.irriJ3Ji,ijij  i  ijjj^ 


Minor  Signatures 


63 


CHAPTER  IX 
Intervals 

The  difference  in  the  pitch  of  two  tones  is  an  Interval.  Inter- 
vals are  measured  along  the  major  scale  from  the  lower  tone  as 
Tonic.  They  are  placed  in  the  major  scale  of  the  lower  tone  and 
named  from  the  number  of  degrees  or  steps  the  tones  are  dis- 
tant from  each  other.  If  the  upper  tone  is  the  5th  step  of  the 
scale  of  the  lower  tone,  the  interval  is  a  fifth;  if  the  4th  step,  a 
fourth ;  etc. 

Intervals  are  measured  to  the  octave  inclusive.  Beyond  the 
octave  a  new  series  is  begun.  Occasionally  ninths  and  tenths  are 
used,  but  these  are  treated  like  seconds  and  thirds. 


P.Primo 


Lesson  11  . 

Major  and  Perfect  Intervals 

The  intervals  formed  in  a  major  scale,  taking  its  tonic  as  the 
lower  tone,  are  primes,  seconds,  thirds,  fourths,  fifths,  sixths, 
sevenths  and  octaves.  There  are  two  titles  given  to  these  intervals. 
The  primes,  fourths,  fifths  and  octaves  are  called  Perfect  Intervals, 
because  the  tones  forming  these  intervals  are  the  most  nearly 
related  in  their  number  of  vibrations.  The  seconds,  thirds,  sixths 
and  sevenths  are  called  Major  Intervals.  In  speaking  of  an  interval, 
the  title  is  always  used.  A  fifth  is  a  Perfect  Fifth,  a  second  a 
Major  Second,  just  as  John  Smith,  a  doctor,  is  Doctor  Smith,  or 
Frank  Jones,  a  major,  is  Major  Jones. 

Section  A. 

Suggestions  for  Study: 

(1)  Learn  to  recite  the  intervals  from  the  tonic  of  a  major 
scale.  Thus:  1  to  1,  a  perfect  prime;  1  to  2,  a  major  2nd; 
1  to  3,  a  major  3rd;  1  to  4,  a  perfect  4th;  etc. 

(2)  Write  the  perfect  intervals  from  the  tonic  of  the  scales 
of  G,  F,  D,  Bb  and  A  major  (using  signatures). 

Write  the  major  intervals  from  the  tonic  of  the  scales  of  Eb, 
E^  Ab,  B,  Db  major  (using  signatures). 

[64] 


Intervals 


65 


(3)  Write  the  perfect  intervals,  using  accidentals,  from  the 


notes 


Write  the  major  interval,  using  accidentals,  from  the  notes 


Section  B. 

The  Major  Third. 


(1)  Play  this: 


^    striking  the  tones   together.  This  is 


known  as  an  Harmonic  Interval. 

Sing  the  lower  tone,  calling  it  1,  and  then  the  higher  tone, 
calling  it  3.  Name  the  interval.  Listen  carefully  to  this  sound. 
You  have  learned  to  recognize  1  and  3  played  separately.  Now 
practise  recognizing  them  played  together  as  an  interval. 

(2)  Play  the  tone  G;  call  it  1.     Sing  1  3.     Play  the  tones  G 

and  B  together  as  an  harmonic  interval: 

(3)  Play  F;  call  it  1.     Sing  1  3. 
Play  F-A  as  an  harmonic  interval. 
Play  D;  call  it  1.     Sing  1  3. 
Play  D-F#  as  an  harmonic  interval. 
Play  Bb.     Call  it  1.     Sing  1  3. 
Play  Bb-D  as  an  harmonic  interval. 

(4)  Play  the  following: 


After  playing  each,  sing  the  lower  tone  1  and  then  the  higher 
tone.     Afterward,  sing  3  first  and  then  1. 

(5)  Pitch  Drill: 

(a)  2  may  also  resolve  2  4  3,  instead  of  2  3. 

Sing  in  major  and  minor,  using  numbers  and  letters,  in  the 
keys  of  C,  F  and  G. 


66 


Ear-Training  and  Sight-Singing 


1  23 
1243 
1243  2  1 

17  13  243 
13243  2  1 
15  123  243 

18  17  1243 


3  1243 
3  243  1 
3  2435 
3  243171 
3  17  1243 


5  3  243 
5  3  24358 
5  3  2  4321 


85  3  243 
8  1243 
8  2  8  1243 


(b)  Write  on  the  staff  in  the  keys  of   C,  F  and   G  major 
and  minor. 
(6)  4  may  resolve  4  2  3,  instead  of  4  3. 
Sing  13  4  3 

13  4  2  3 
Or  4  may  resolve  4  2  1. 
Sing  13  4  2  1.     Sing  13  4  2  3.     Sing  13421. 

(a)  Sing  in  major  and  minor,  using  numbers  and  letters,  in 
the  keys  of  C,  F  and  G. 


13  24342  1 
13  542  1 
1342171 
1342358 
14342  1 
17  143423 


12  1421 

12  1423 

13  1423 
13  142  1 


12  3  4  2  1 
123423 
143  42  1 
143423 
35  1342  1 
355  1423 


5342  17  1 
5  14342  1 
5  83542  1 
5  142321 
85  342  1 
83  5  42  3 
83542321 


(b)  Write  on  the  staff  in  the  keys  of  C,  F  and  G  major 
and  minor. 

(7)  Exercises  in  Sight-Singing: 
1 


j.  fp.f  ijjj  irfji^.ij  I  iff.^  '-^  J'L  J  ir^ 


Intervals 


67 


Section  G. 

The  Perfect  Fifth: 

(1)  Play  this: 

Sing  the  lower  tone   (1)  and  then  the  higher  (5).     Play  it 
again  as  an  harmonic  interval.     Name  it. 


Play   this: 


Play   the   5th,    then   the   3rd,   several 


times,  comparing  the  two  sounds.  Note  the  empty,  hollow  sound 
of  the  5th  as  contrasted  with  the  full,  round  sound  of  the  3rd. 

Sing  1  5.  Sing  13  5.  Note  that  the  3rd  fills  in  the  hollow- 
ness  of  the  5  th. 

Sing  a  perfect  5  th  up  from  the  following  tones.  First  play 
each  tone,  taking  it  as  1 : 


Note.     A  5th  may  always  be  found  by  first  thinking  13  5. 


68 


Ear-Training  and  Sight-Singing 


After  singing  each  5th,  play  it  as  an  harmonic  interval. 
Play  the  following: 


Sing  the  tones  1  and  then  5.     Afterwards  sing  5  and  then  1. 

(2)  Exercises  for  Dictation: 

Melodies  containing  2  4  3  and  4  2  3.     Each  may  be  written 
in  other  keys  and  time-values,  ^nd  used  for  singing. 

1  2 


(3)  Exercises  in  Sight-Singing: 


Intervals 


69 


Lesson  12 
Minor  Intervals 

The  title  of  the  Interval  determines  its  Quality.  The  quality 
of  an  interval  may  be  changed  by  altering  the  pitch  of  either  tone 
one  half  or  one  whole  step.  This  alteration  of  the  pitch  of  either 
tone  of  the  interval  does  not  change  the  number-name  of  the  in- 
terval. E  to  B  is  always  a  5th,  even  if  the  pitch  of  B  is  changed 
to  Bb,  or  E  to  E#. 

The  Perfect  and  Major  Intervals,  formed  from  the  tonic  to  the 
other  steps  of  the  major  scale,  are  used  as  a  standard  of  measure- 
ment. 


70  Ear-Training  and  Sight-Singing 


If  a  Major  Interval  is  made  one  half-tone  smaller,  its  title  is 
changed  to  Minor.  Therefore,  there  are  major  and  minor  2nds, 
3rds,  6ths  and  7ths. 

Note.  The  terms  major  and  minor,  as  applied  to  intervals,  have  no  con- 
nection with  the  same  terms  as  applied  to  scales,  except  as  they  mean  greater  or 
lesser. 

Section  A. 

Suggestions  for  Study: 

(1)  Write  the  Minor  Intervals  from  the  tonic  of  the  keys  of 
A,  G,  Bb,  F#,  Eb  and  B  major. 

(2)  Write  the  Minor  Intervals,  using  accidentals,  from  the 

notes 


Section  B. 

(1)  The  Perfect  Fourth  (5  8)  and  Minor  Sixth  (3  8). 
(a)   Play  13  5  8  from  C. 

Think    13  5  5    8.     Think   5   8.     Sing   it.     Test   on 
piano. 

Write  it  on  staff  thus: 

Play  it  as  an  harmonic  interval.     Name  it. 
Play  13  5  8  from  G,  F,  D  and  Bb,  and  study  the 
perfect  fourth  as  outlined  as  above. 

Play  the  following: 


Sing  the  lower  tone,  calling  it  5,  and  the  upper  tone, 
calling  it  8.  Afterwards  play  each  interval,  and  sing 
8  first  and  then  5.  The  perfect  fourth  from  5  to  8  is 
one  of  the  most  commonly  used  intervals.  A  great 
many  songs  begin  with  it. 
(b)   Play  13  5  8  from  C. 

Think  13  3  5  8.    Sing  358.     Sing  3  8.     Test  on 
piano 


Intervals 


71 


Write  3  8  on  staff.  Name  it.  Play  it  as  an  harmonic 
interval.  Sing  it  again  after  playing,  singing  3  and 
then  8.     Flay  again,  and  sing  8  and  then  3. 

Play  13  5  8  from  G,  F,  D  and  Bb. 

Practise  the  minor  6th  in  each  key  as  outlined  above. 

Play  the  following: 


(2)  Pitch  Drill: 

6  may  resolve  6  4  3  instead  of  6  . 
Sing: — 

3565  56531 

35643  5643  2  1 

3  1653  5  1653 

3 1 643  5  1  6432  1 


13565 
13564321 
135643 
1653  1 
16431 
16432  1 


35  1653  5  1643 
35  1643  5643 


585643 

8564321 

835643 

81653 

81643 


82785643 
1  27  1643 
57  1643 
5721643 


The  above  numbers  should  be  written  on  the  staff  in  C,  F  and 
G,  treble  and  bass.  Then  they  should  be  referred  to  later  and 
sung  from  the  staff  by  number  and  letter.  They  should  also  be 
used  for  dictation.  After  they  have  become  comparatively  easy 
in  major,  they  should  be  studied  in  minor  by  lowering  the  3rd  and 
6th.  They  should  also  be  written  in  c,  f  and  g  minor  and  sung 
by  number. 

(3)  Exercises  for  Dictation: 

Melodies  containing  6  4,  for  dictation  and  singing: 


72 

Ear-Training  and  Sight-Singing 

10 

1   n    n   1   1 — r^H — ; — IHW — 1 1 — H-l — Jill r 

— 1 1 

11 

B    ■    r— BB    ■    —    —    ■ .^^ ■    r*l n. — . 

¥=^ 

^^liOij  jjipj^  ij  aM  [M^  J  jj  ij   n  '  i  1 

These  should  be  written  in  other  keys  and  in  the  minor  mode, 
and  with  different  note-values. 

Section  C. 

Pitch  Drill: 

(1)  The  skip  4  6  5  is  also  used. 


Sing  13  5  6  5 

5  3  4  6  5  7 

13  4  6  5  3  1 

8  5  3  4  6  5 

13  4  6  5  3  8 

8  3  4  6  5 

3  5  4  6  5 

8  14  6  5 

5  3  4  6  5 

8  2  8  3  4  6 

5  3  4  6  5  3  8 

The  above  numbers  to  be  written  as  directed  in  Lesson  12, 
Section  B,  page  71. 

(2)  Exercises  for  Dictation  and  Singing: 

Melodies  containing  any  of  the  skips  7  2,  2  4,  6  4,  4  6. 
1  2 


Intervals 


78 


The  above  should  be  written  in  other  keys;  also  in  minor  and 
with  different  note-values. 


(3)  Exercises  in  Sight-Singing: 
1 


74 


Ear-Training  and  Sight-Singing 


Lesson  13 
The  Up-beat 

Rhythm  in  music  may  begin  with  the  accented  or  the  un- 
accented pulse  of  the  meter.  This  corresponds  to  the  rhythm 
or  kind  of  foot  used  in  poetry.  If  the  rhythm  begins  with  the 
accented  pulse,  the  effect  is  —  v_^  or  a  trochee.  If  the  rhythm 
begins  with  the  unaccented  pulse  the  effect  is  s^  —  or  an 
iambus. 

When  the  rhythm  begins  on  the  accented  pulse,  the  measure 
will  correspond  to  the  space  between  the  bars,  thus: 

t.  Ma  -  ry,     -Ma  -  ry,     quite   con  -  tra  -  ry 

1  J       J      .J      J      J        J      .J      J 

When  the  rhythm  begins  on  the  unaccented  pulse  in  duple 
meter,  a  measure  will  extend  from  the  unaccented  through  the 
accented  pulse,  thus: 

2  The     shades  of       night  were      fall  ■  ing      fast 


f     J 


J         J      .J       J       .j      J      .J 


When  the  rhythm  begins  on  the  unaccented  pulse  in  triple 
meter,  a  measure  will  extend  from  the  second  unaccented  through 
the  first  unaccented  pulse,  thus: 

8.  A  ■    long  came    a        spl  -  der    and     sat  down   be  -  side   her 


1  3  .  j  J.  J  .  J  J  J  ,  J  J   J  .  j  J 

Section  A. 

Suggestions  for  Study: 

(1)  Erect  (using  accidentals)  a  Perfect  5th 

, 

.                                          Minor    6th 

Major    2nd 

from 

Perfect  4th 

1     E,A,D,G,  B 

Minor    3rd 

and  F#. 

Major    7th 

Intervals 


75 


(2)  Erect  (using  accidentals)  a  Major    3rd 

Minor    2nd         from 
Major    6th    >     Db  Ab,  C,F, 
Perfect  5th  Bb  and  Eb. 

Minor    7th 

(3)  Name  the  following  intervals: 


(4)  Scan   the   following   lines,   marking   the   long  and  short 
syllables: 

Jack  and  Jill  went  up  the  hill. 

Rock-a-by  baby  on  the  tree-top. 

Sing  a  song  o'  sixpence. 

Humpty  Dumpty  sat  on  the  wall. 

Maxwel ton's  braes  are  bonny. 

Flow  gently,  sweet  Afton. 

O  say,  can  you  see,  by  the  dawn's  early  light. 

By  yon  bonnie  banks  and  by  yon  bonnie  braes. 

(5)  Make  rhythmic  outlines  of  each,  as  in  Examples  1,  2  and 
3,  page  74. 


Section  B. 

(1)  (a)   Play  the  following: 


Sing   each;   first  the  lower  tone   (3),  and   then   the 

higher  (8). 
Play  each  again,  and  sing  8  first  and  then  3. 
(b)  Play  13  5  8  from  C. 
Think  1  5.    Think  5  8. 

Play  the  following: 


76 


Ear-Training  and  Sight-Singing 


Sing  each,  singing  the  lower  tone  first.  Note  the 
resemblance  in  quality  between  the  fifth  and 
fourth;  but  the  difference  in  the  quantity  of  each 
interval  due  to  its  position  in  the  scale. 

Repeat  this  practice  in  the  keys  of  G,  F,  D  and  Bb. 


(c)    Play  13  5  8  from  C. 
Think  1  3.    Think  3  8. 

Play  the  following: 

Sing  each,  singing  the  lower  tone  first.     Note  the  re- 
semblance in  quality  and  difference  in  quantity. 
Repeat  this  practice  in  the  keys  of  G,  F,  D  and  Bb. 


(2)  The  Up-beat  in  2/4. 

Practise  these  exercises  as  follows: 

Intone  the  rhythm. 

Use  the  arm  to  indicate  the  beat.     Down-up,  down-up — 

1^1      indicates  1-2,  1-2.     Up-down,  up-down  indicates  2-1,  2-1. 

?ijj      iJJ      iJJ      I    ^     nContrast  with   JiJ    J      ij     J      ij     J     iJn 
4 
(Arm  starts  Dow&.up.)  (Arm  starts  Up-down.) 


2     J      J       ij      J       iJ 

J     N  Contrast  with    J   I  j     J      1  J     j      i  J 

8     J               J      J       .J 

J      .. 

«       «    J  ij         iJ    J    iJ 

4  J  nj nj n 

J     n 

-    »  J.J  Ji.j  J^.J  -n 

6  J  j  ..n/j.j  J 

J     n 

«    ..  J.J  J  rj^nj  J 

e   J    J     .«rj«n.J    S2 

J     1. 

«      «   J.J  J   iJ^^Q.J  /3 

7  j:j^,j  j  .j^;j 

J     II 

«    "  j.;^;:3.j  j  .jiji 

a  J  •T^.J^.Q.J.  ;3 

J    u 

«    «  J.J  j^.nnj  /3.j« 

(3)  The  Up-beat  in 

3/4. 

Indicate  12  3 

(down-right-up)         "*\^^ 

Indicate  3  12 

(up-down-right)       ▼ 

^2 

Intervals 


77 


Intone  the  rhythm  and  beat  the  meter. 

J.  JJJ  >JJJ  .J     J  •  J 
2  J    J  .J     J  .JJJ  .  J 
s   J     J3.J      JJ.J  J  J   .  J 

4  JJJ3.JJJ3.J  JJ  .J 

5  JJJ  .J3J3J3.J  J  J  .  J 

e  JJJ3.J  JJ3.J3.QJ3.  J 

7    J-     J    .JJ]J3.JJJi    J 

H  Contrast  with    JiJJ  J    ij  J  J    ij        J    iJ  « 
.,        a          <.      J.J      J    .J        J    .J  J  J    .Jn 
..        »           »      J.J      J3.J        J]>J  J  J    >J» 

..      .        «     J.JJJ3.J  J  J3.J  J  J  .Jn 

..  a    «  J. JJJ  .j3j:]J3.jj  J  .J. 

..    •      «   J.JJJ3.J  J  J3>J3J3i3>J> 

.   •    -  J.J  J  J  J3J3.J  J  J IJ- 

(4)  The  Key  of  D. 

(a)  In  beginning  the  study  of  a  new  key  turn  to  any  of  the 

groups  of  numbers  in  the  preceding  pages  and  prac- 
tise singing  them,  using  the  letter-names  of  the  new 
key.  After  singing  a  group,  write  it  on  the  staff  in 
both  clefs. 

(b)  For  practice  of  the  new  skips  8  6  5, 84  3, 8  2  1. 
Play  d'.    Think  13  5  8. 

Sing 


8565 

865 

8653  1 

8657  1 

86535 

1  865 

3865 

5865 

35865 

53865 

57  1  86 

82865 

83865 

865  78 


85343 

8343 

843 

84358 

81843 

8  1865 

865843 

3843 

35843 

3  1  843 

53843 

5  1843 

82843 

83843 

843  2  1 


8  12  1 
82  1 
8232 

82  17 
182  1 
382  1 
582  1 
5  182 
3  182 
3582 
5382 
8  282 

83  82 
82  17 
8  2  15 


(S)  The  following  groups  are  to  be  practised: 

(a)  Recite  the  numbers  of  a  group. 

(b)  Play  13  5  8  from  D. 

(c)  Think  the  sound  of  the  group. 

(d)  Sing  the  group,  with  numbers  and  letters,  and  test  on 


piano. 


78 


Ear-Training  and  Sight-Singing 


86 


37 


38 


"  11  *»  B 


Section  G. 

(1)  Play  the  following  tones:  C,  F,  G,  D,  Bb.  Call  each  tone 
1  and  sing  the  major  3rd  and  perfect  5th  up  from  it.  Play  the  3rd 
and  5th  harmonically  after  singing  them.  Try  to  determine  for 
yourself  the  different  quality  in  the  sound  of  the  3rd  and  the  5th. 


Intervals 


79 


(2)  Phrases  for  Dictation: 

(a)  Have  one  of  the  melodies  beginning  on  the  down-beat 

dictated. 

(b)  Decide  meter. 

(c)  Represent  the  pulses  and  outline  the  rhythm. 

(d)  Write  the  numbers. 

(e)  Place  on  the  staff. 

(f)  After  the  melody  (a)  has  been  played,  the  melody  (a^ 

should    be    played.     Contrast   the    two,   and    then 

write  {q})  on  the  staff. 

Note.  The  up-beat  is  easily  felt  and  recognized  when  it  is  associated  with 
breathing;  the  accented  pulse  being  felt  as  the  exhalation,  breathing;  the  un- 
accented pulse  as  the  inhalation. 


(3)  Exercises  in  Sight-Singing: 


8C 


Ear-Training  and  Sight-Singing 


Lesson  14 
Diminished  and  Augmented  Intervals 

If  a  Perfect  Interval  or  a  Minor  Interval  is  made  one  half-tone 
smaller,  it  becomes  a  Diminished  Interval.  There  are  diminished 
primes,  2nds,  3rds,  4ths,  5ths,  6ths,  7ths  and  octaves. 

If  a  Perfect  Interval  or  a  Major  Interval  is  made  one  half-tone 
larger,  it  becomes  an  Augmented  Interval.  There  are  augmented 
primes,  2nds,  3rds,  4ths,  5ths,  6ths,  7ths  and  octaves. 

To  name  an  interval,  regard  the  lower  tone  as  the  Tonic  of  a 
major  scale.  The  number  of  degrees  from  the  lower  tone  to  the 
higher  gives  the  size  of  the  interval.     If  the  upper  tone  agrees  with 


Intervals 


81 


the  major  scale  of  the  lower  tone,  the  interval  will  be  either  major 
or  perfect.  If  it  is  one  half-tone  smaller  than  a  major  interval,  it 
is  called  minor;  if  one  half-tone  smaller  than  the  perfect  or  minor 
interval,  it  is  diminished;  if  one  half-tone  larger  than  the  perfect 
or  major  interval,  it  is  augmented. 


Compound  Meter 

Duple,  triple  and  quadruple  meters  are  known  as  simple  meters. 
All  rhythms  used  in  2/4,  3/4  and  4/4  are  made  by  adding  the  pulses 
or  dividing  a  quarter-note  by  two  or  a  multiple  of  two  with  the 
exceptional  subdivision  into  three  or  five.  If  a  constant  triplet 
subdivision  is  desired,  the  Compound  Meters  are  used. 

A  six-pulse  meter  is  a  duple  meter,  each  pulse  divided  into 

triplets:    jj2ni 


List  of  Rhythms: 

3         J 
J.  J 

i-i-J     J     J     J 
^    r:  n  n  n 
J-      •hj-      i» 

J.        ;3J.        Jl 


Is 


A  nine-pulse  meter  is  a  triple  meter,  each  pulse  divided  into 


triplets: 


J.   J-    y 


All  rhythms  used  in  6/8  will  recur  in  9/8. 


A  twelve-pulse  meter  is  a  quadruple  meter,  each  pulse  divided 


into  triplets: 
recur  in  12/8. 


J       J-      J-      J. 


All    rhythms    used    in   6/8  will 


82 


Ear-Training  and  Sight-Singing 


from  D,  A,  F,  C  and  E. 


Section  A. 

Suggestions  for  Study: 

(1)  Erect  (using  accidentals)  an 

Augmented  8th 
Diminished  5th 

Minor  3rd 
Diminished  4th 
Augmented  6th 
Augmented  4th 

Minor  7th 

(2)  Erect  (using' accidentals)  a 

Diminished  8th 

Minor  2nd 
Diminished  3rd 

Perfect  4th 

Augmented  5th 

Minor  6th 

Diminished  7th 

Note.  In  the  exercises  given  above  the  augmented  and  diminished  in- 
tervals are  to  be  written  using  the  given  tone  as  lower  tone,  if  a  given  interval 
is  to  be  made  augmented  or  diminished,  it  is  generally  made  augmented  by  raising 
the  higher  tone;  made  diminished  by  raising  the  lower  tone. 

The  terms  raise  and  lower  are  used  instead  of  sharp  and  flat,  as  a  natural  is 
also  used  to  raise  or  lower  the  pitch  of  tones. 

If  the  higher  tone  of  an  interval  is  raised  the  interval  is  larger.  If  the  lower 
tone  is  raised  the  interval  is  smaller. 


'  from  C,  A,  E,  C#  and  F#. 


^Higher  tone 
Lower  tone 


"Higher  tone 
"Lower  tone 


If  the  higher  tone  is  lowered,  the  interval  becomes  smaller.     If  the  lower 
tone  is  lowered,  the  interval  is  larger. 


^Higher  tone 
.Lower  tone 


"Higher  tone 
"Lower  tone 


(3)  Name   the   following  intervals: 


(4)  Write  examples  four  measures  in  length,  of  4/4  and  6/8 
meters,  using  added  and  divided  beats.  The  rhythms  may  be 
copied  from  a  composition. 


Intervals 


83 


Section  B. 

(1)   (a)  Play  the  following: 

(b)  Sing  each,  singing  the  lower  tone  first — using  the  num- 
ber and  letter-names.  If  played  in  a  register  impossible  for  sing- 
ing, think  the  separate  sounds. 

(c)  Name  the  interval. 


^ 


"       '•*- 


(2)  Study  of  4/4  Meter: 

Tap  the  beat  1-2-3-4,  and  intone  the  rhythm.    2-*- 


l.t 


->3 


Use  your  arm  to  indicate  the  beat:  down,  left,  right,  up. 

OpJJJJ.JjJJ.jJJJ.o 

<i»  J  J  J  J   .  J  J  J  J   .  J  J  J  J    .  J  J  J     .. 

(c)    J    J    J    J    .  j    j    J    J    .  J   J    J   J     .  J         J       a 

(3)  Phrases  for  Dictation: 

(a)  Represent  the  rhythm. 

(b)  Write  numbers. 

(c)  Place  on  the  staff. 


84 


Ear-Training  and  Sight-Singing 


Section  C. 

(1)  Study  of  4/4  Meter,  added  beat: 

Tap  the  beat  or  use  the  arm-movement — down,  left,  right,  up. 
Intone  the  rhythm: 


(a)    J    J    J    J 

J   J    J 

J  J  J  J 

1  o 

(b)    J    J    J    J 

•  o 

J  J  J  J 

1  o                   0 

(c)    J    J    J    J 

.J         J 

J  J  j  J 

I  o                      ■ 

(d)    J    J    J    J 

.J         J 

J    J 

1   o                         B 

<e)    J    J    J    J 

)  o 

J    J 

1  o                   n 

(ft     J          J 

.J  J  J 

J    i  J 

.j    J    J        » 

(iO    J    J    J 

1  o 

J  ^  J 

1  o                         0 

(h)    <j         J 

1  o 

j  ^  J  J 

1  o                         N 

(i)    J    J    J    J 

.J    J 

J  J  J  J 

.J     J      J          . 

U)     el         J    J 

.J    J 

J    J  J 

.J     J      J          . 

(2)  Phrases  for  Dictation  and  Sight-Singing: 

(a)  Decide  the  meter. 

(b)  Decide  up-beat  or  down-beat. 

(c)  Represent  the  rhythm. 

(d)  Write  the  numbers. 

(e)  Represent  on  the  staff. 

1  2 


Intervals 


85 


Lesson  15 


Section  A. 


Suggestions  for  Study: 

(1)  Erect,  using  accidentals,  an  Augmented  2nd 

a  Major  6th 

an  Augmented  5th 

a  Diminished  7th 

a  Minor  6th 

a  Perfect  4th 

(2)  Erect,  using  accidentals,  a  Minor  3rd 

an  Augmented  4th 

a  Diminished  7th 

a  Perfect  5  th 

a  Diminished  2nd 

a  Major  7th 

(3)  Name  the  following  intervals: 


from   G, 
)   B,A,Bb, 
Gb. 


from  Cb, 
}   B,  G,  A, 
Eb. 


bTT   -■ 


(4)  Write  examples,  four  measures  in  length,  of  4/4  and  6/8 
meters,  using  an  added  beat  and  a  divided  beat. 


86 


Ear-Training  and  Sight-Singing 


Section  B. 


(1)  The  Minor  Third  (3-5). 
(a)  Play  13  5  8  from  C. 

Think  13  3  5.    Think  3  5.     Sing.    Test. 
Think  1.     Sing  3  5.     Write  on  staff. 
Name  the  interval. 

Play  13  5  8   from   G,  F,  D   and   Bb,  and    study 
minor  3rd  in  each  key  as  outlined  above. 


the 


(b)  Play  the  following; 

Sing  each;  the  lower  tone  first,  calling  it  3;  then  the 
higher  tone,  calling  it  5.  Each  of  these  minor  3rds  is 
3  to  5  in  a  major  key. 

(c)  Play  each.     Think  the  tones  as  3  5.     Sing  1.     If  this 

is,  at  first,  difficult  you  may  play  1,  but  try  to  think 
it,  and  practise  constantly  until  you  can  do  it  easily. 

(d)  Play  the  following  notes:  E,  A,  B,  F#,  D.     Call  each 

in  turn  3.     Think  3  1.     Place  on  the  staff.     Name. 
Think  3  5.     Place  on  the  staff  and  name. 

(e)  In  each  of  the  following  groups  play  the  open    note, 

think  and  sing  the  black  note. 


(2)  4/4  meter,  divided  beat. 

In  the  following  exercises  intone  the  rhythm  and  tap  the  beat. 


<a) 


(e) 
(f) 


tfS) 

(h7 


(1) 

(k) 


J  J  J  J 

^ni^nn 

J  J  J  J 

1  o 

N 

J  J  j  J 

>nrij  J 

/3/3J   J 

1  o 

II 

j  J  J  J 

.J  nj  n 

J  nj  J 

..] 

J 

II 

J  J  nji 

•  J  J  J  J 

J  J  Jifi 

>  o 

II 

d     J  j 

.J     nn 

J  nj  J 

1  o 

II 

J  J  J  Ji 

.J  nj 

J  J  J  ji 

.J 

J 

II 

J     J  •n 

.J        J    /3 

J  J  J  •n 

1  o 

II 

J  /3J 

J  jzj 

J  J^j  J 

.J 

J 

II 

J     J  J 

>s:jzj 

J   /3J  ./3 

1  o 

u 

J  J  -rsji 

.cJ             J 

J  J  ;i/3 

1  o 

n 

Intervals 


87 


(3)  Melodies  for  Dictation  and  Singing: 
1  2 


^  ^  18 

i]  II  r  ri  I  I  I     III  I   |i  r  II  n  I  ni  _  I 


Section  C. 


(1)  The  Major  Sixth  (5  3). 
(a)  Play  13  5  8  from  C. 

Thinks  8;   5  8  3;  5  3.     Sing  5  3.    Test. 
Place  on  staff.     Name  the  interval. 


88 


Ear-Training  and  Sight-Singing 


Play  13  5  8  from  F,  G,  D  and  Bb,  and  study  the  major 
6th  in  each  key  as  outlined  above. 


(b)  Play  the  following : 

Sing  each;   the  lower  tone  first,  calling  it  5;   then  the 
higher  tone,  calling  it  3. 

(c)  If  each  6th  is  5  to  upper  3,  decide  the  key  of  each. 
Play  again.    Sing  the  keynote  (8)  of  each  6th. 

(d)  Play  the  following  notes:  G,  C,  D,  A,  F.     Call  each 

in  turn  5.    Think  5  3.     Place  on  the  staff  and  name. 

(2)  Exercises  in  Sight-Singing: 


Intervals 


89 


Lesson  16 
The  Inversion  of  Intervals 

Intervals  are  inverted  by  placing  the  lower  tone  one  octave 
higher. 

The  interval  C  to  E  isa  major  3rd,  as  E  is  the  3rd  step  of  the 
scale  of  C.  The  inversion  of  C  to  E  is  E  to  C.  The  interval  from 
E  to  C  is  a  minor  6th,  for  C#  (not  C)  is  the  6th  step  of  E.  In  the 
same  manner  the  major  2nd,  C  to  D,  inverts  to  a  minor  7th,  D  to  C. 

The  perfect  4th,  C  to  F,  inverts  to  a  perfect  5  th,  F  to  C.  The 
perfect  5th,  C  to  G,  inverts  to  a  perfect  4th,  G  to  C.  The  major 
6th,  C  to  A,  inverts  to  a  minor  3rd,  A  to  C.  The  major  7th,  C  to 
B,  inverts  to  a  minor  2nd,  B  to  C.  The  minor  3rd,  C  to  Eb, 
inverts  to  a  major  6th,  Eb  to  C. 


MaJ.8  Mln.S  HaJ.2  Mla.7   P.4      P.6      P.6      P.4     M«J.«  MJa.8  M*J.7  MIn.2   Mln.8  M«J.« 

The  augmented  2nd,  from  C  to  D#,  inverts  to  a  diminished 
7th,  D#  to  C.  The  diminished  5th,  B  to  F,  inverts  to  the  aug- 
mented 4th,  F  to  B. 


Aug.  2       Dim.  7        Dim.  6       Aug.  4 

From  the  above  may  be  made  the  following  table: 
Upon  inversion,  a  Major  Interval  becomes  Minor. 
:  "  "  a  Perfect  Interval  remains  Perfect. 

"  "  an  Augmented  Interval  becomes  Diminished. 

"  "  a  2nd  becomes  a  7th. 

"  "  a  3rd  becomes  a  6th. 

"  "  a  4th  becomes  a  5th. 


Note.     Both  of  these  tables  read  from  either  side, 
a  minor  7th;  a  minor  7th  becomes  a  major  2nd,  etc. 


A  major  2nd  becomes 


90 


Ear-Training  and  Sight-Singing 


Inversion  of  intervals  saves  time  in  naming  intervals.  For 
example,  if  the  interval  C  down  to  E  be  named,  it  is  much  easier  to 
think  of  it  as  a  minor  6th,  the  inversion  of  the  major  3rd  C  to  E, 
than  to  think  in  the  key  of  E,  etc. 

The  intervals  down  from  8  are  the  inversions  of  the  intervals 
up  from  1.  The  intervals  up  from  1  are  major  and  perfect.  Down 
from  8,  minor  and  perfect;   8  to  2,  a  7th;   8  to  3,  a  6th;  etc. 

Section  A. 

Suggestions  for  Study: 

(1)  Learn  the  table  of  Inversions. 

(2)  Invert  and  name  the  following: 


Section  B. 


For  practice  of  the  skips  5  2,2 
(1)  Play  Bb.    Think  13  5  8. 


Sing 


5. 

8 
8 
1 
1 
2 
5 
5 
8 
1 
5 
4 
6 


(2)  4/4  meter.     Up-beat.    Arm-movement 


lit 


Tap  the  beat  and  intone  the  rhythm. 

»)J      JJ.JJJJ.J      j  J    .o    .Co.tr.Mwithj.«|       Jj.JJJJ.J     J  J 
n»JJJJ.J        Jj.JjjJ.o'H       -         -J.JJJJJ        JJJJJJ 


.«<>JJ3JJJ«QJJ>JJJ773 


I    o     H 


JJJ3JJiJ  J3JJ.JJJ3^ 


Intervals 


91 


(3)  Exercises  for  Practice  in  Dictation: 
1  2 


P  ■    ■■ 1 r-t 

1 r 1— 1 =r- 

11 

-T lI-^= 0      1 

1    1  ^   ^<   ^  1 ■ 

(ds^'l^  ^  f  \'  A  ^  \j  nr^\  \   II  r  i  ir  i^  i^j^jjj  i  i   i 

Tt-tF f-i — ==rt 

-T"! — l~M T 

'8* 

-f-r 

13 

Ij    jj    1  J    IJ 

n    1   1  1 rH — 1 — 1 

^^'J  j»^' 

J  J^  N^i 

=y 

1^    1*'  J  i*    l«l 

^JJ  U  j^JIJ=l 

Section  C. 

(1)  Lesson  14  completed  the  study  of  the  intervals  which 
are  found  in  combinations  of  1  3  5  and  8,  with  the  exception  of  the 
unison  1  to  1,  and  the  perfect  octave  1  to  8. 

Following  is  a  table  showing  the  relation  of  these  intervals 
when  inverted. 


1-1  Perfect  prime  (L  1) 
1  -  3  Major  3rd  (+3) 
1  -  5  Perfect  5di  (L  5) 
3-5  Minor  3rd  (—3) 


when 
Inverted 
becomes 


1-8  Perfect  octave  (L  8) 
3-8  Minor  6th  (—6) 
5-8  Perfect  4th  (L  4) 
5-3  Major  6th  (+6) 


Success  in  studying  intervals  depends  upon  the  ability  to  con- 
struct any  combination  of  1  3  5  8  from  any  tone.  Practice  along 
this  line  is  helpful  beyond  all  calculation,  since  it  not  only  gives  a 


92 


Ear-Training  and  Sight-Singing 


positive  knowledge  of  useful  intervals,  but  also  a  method  of  think- 
ing which  develops  the  ability  in  melodic  dictation  and  sight- 
singing. 

Below  are  three  arrangements  of  all  the  intervals  in  the  keys 
thus  far  studied. 

In  (A)  the  intervals  are  arranged  by  inversion. 

In  (B)  all  intervals  having  the  same  lower  tone  are  grouped 
together. 

In  (C)  there  is  no  plan  of  arrangement,  these  being  only  for 
practice  after  A  and  B  have  been  thoroughly  studied  and  practised. 

These  lists  are  for  practice  and  constant  reference.  Each 
student  should  have  (A)  and  (B)  clearly  in  mind  and  write  out 
such  arrangements  from  memory. 

As  a  new  key  is  studied,  arrange  and  study  the  intervals  in 
this  manner. 


(2)  Exercises  in  Sight-Singing: 


^  t  jirCrrC/irr;rJ  irrj-rrrirrr  j  ircrr  j  i 
^''  r  rj-r  ^  ij  J^r  r  If  r  '^  'f  r  Mr  r  J  I 


4^''  j;Jrrrrir  (  r  |r  p ,.,  ir  p-^  1 1  i  i  ,  i|   ,  i 


Intervals 


94 


Ear-Training  and  Sight-Singing 


Lesson  17 

Staff  and  Scale  Position  of  Intervals 

The  position  on  the  staff  and  in  the  major  scale  of  the 
most  used  intervals  should  be  learned.  This  saves  the  trouble  of 
measuring  the  intervals.  Following  is  a  table  of  intervals  on  the 
staff  and  in  the  major  scale. 

Staff: 

Maj.  2nds.    All  but  E-F,  B-C,  which  are  minor.  • 

Maj.  3rds.  C-E,  F-A,  and  G-B.     Others  minor. 

Per.  4ths.  All  except  F-B,  which  is  augmented. 

Per.  5ths.  All  except  B-F,  which  is  diminished. 

Maj.  6ths.  C-A,  D-B,  F-D,  and  G-E.     Others  minor. 

Maj.  7ths.  C-B,  F-E.     Others  minor. 

Major  Scale: 

Maj.  2nds.    All  but  3-4,  7-8,  which  are  minor. 

Maj.  3rds.  1-3,  4-6,  5-7.     Others  minor. 

Per.  4ths.  All  but  4-7,  which  is  augmented. 

Per.  5ths.  All  but  7-4,  which  is  diminished. 
Maj.  6ths.     1-6,  2-7,  4-2,  5-3.    Others  minor. 
Maj.  7ths.     1-7,  4-2.     Others  minor. 

Staff  Scale 

Aug.  4ths.  F-B  4-7 

Dim.  5ths.  B-F  7-4 

Note.  These  are  the  only  augmented  and  diminished^  intervals  which 
occur  on  the  staff  or  in  the  major  scale  without  altering  the  pitch  of  tones  with 
accidentals. 


Intervals  95 


In  a  minor  key  the  following  augmented  and  diminished  in- 
tervals occur,  formed  by  the  lowered  3rd  and  6th  steps : 

Aug.     4th  :  4-7;  6-2.      Aug.   2nd   :  6-7.       Aug.   5th   :  3-7. 
Dim.    5th  :  7^;  2-6.       Dim,  7th  :  7-6.       Dim.  4th  :  7-3. 

Intervals  are  Consonant  when  they  sound  finished  and  do  not 
need  resolution.  Such  intervals,  found  between  the  rest  tones, 
are  all  the  perfect  intervals  and  the  major  and  minor  thirds  and 
sixths. 

Intervals  are  Dissonant  when  they  require  resolution.  These 
are  the  major  and  minor  2nds  and  7ths  and  all  augmented  and 
diminished  intervals. 

Section  A. 

Suggestions  for  Study: 

(1)  Learn  the  position  on  the  staff  of  the  major  and  perfect 
intervals. 

(2)  Learn  the  position  in  the  major  scale  of  the  major  and 
perfect  intervals. 

(3)  Learn  the  position  on  the  staff  of  the  augmented  and 
diminished  intervals. 

(4)  Learn  the  position  in  the  major  scale  of  the  augmented  and 
diminished  intervals. 

(5)  Learn  the  position  in  the  minor  scale  of  the  augmented  and 
diminished  intervals. 

(6)  Write  and  resolve  the  augmented  4th  and  diminished  5th  in 
keys  of  C,  F,  G,  B  and  D  major. 

Write  and  resolve  the  augmented  2nd  and  diminished  7th 
in  keys  of  c,  a,  g  and  b  minor. 

Write  and  resolve  the  two  augmented  4ths  and  the  dimin- 
ished 5ths  in  keys  of  e,  d,  f  and  f:|j:  minor. 

Write  and  resolve  the  augmented  5th,  and  diminished  4th, 
in  keys  of  a,  c,  d  and  g  minor. 

Example:  The  augmented  4th  and  diminished  5th  in  a  major 
scale  are  from  4-7  and  7-4. 

Following  are  these  intervals  in  the  key  of  G  major: 


Aug.  4       Dim.  5 


96  Ear-Training  and  Sight-Singing 


Following  are  the  augmented  intervals  in  g  minor: 


Aug.  a  Aug.  4  Aug.  4  Aug.  5 

The  tones  of  the  intervals  resolve  according  to  the  law  of  active 
and  rest  tones. 

Section  B. 

(1)  Practise  the  Intervals  of  Lesson  16,  Section  C,  Page  92, 

(2)  Exercises  for  Practice  of  the  Skip  3  4,  4  3 : 
Play  a}  as  1.    Think  13  5  8;  1  3  1  3  1. 
Sing  the  following. 

Write  on  the  staff  in  keys  of  A  major  and  a  minor. 
15  13  1  165  43  1        13  15  1  345  1 

1531  3154321     1351  5545321 

153431  334321        13431  543321 

13431  5315431     1353431     5343371 

17634321     534321        15451  12343671 

(3)  6/8  Meter.     Tap  the  following  and  intone  the  rhythm,  (a) 

a|J       J     ,    J       J.J       J.J        '. 

t»J/t]jt3./73-r73.jt3;7^.J      « 

Repeat,  dividing  each  pulse  into  triplets,     (b) 

As  a  six-pulse  meter  is  a  compound  of  a  duple  meter,  each  pulse 

divided  into  triplets,  compare  the  following  exercises  with  the  above. 

Tap  the  pulse  as  in  2/4,  and  intone. 

«  g     J.      J.    .    J-      -J.    .J.      J.    .  J^J.  n 

0  g  -TO  /71 .  /73  JT3  .  J71J71 .  J^J.  » 

In  beating  6/8  meter  in  a  moderate  or  fast  tempo,  beat  as  in 
duple   meter:   down,    up,    I       T     mentally   dividing   each    pulse 

into  three. 

In  beating  6/8  in  a  slow  tempo,  beat  as  follows:  one  down ;  two 


lif 


beats  to  the  left;  two  beats  to  the  right;  one  up.    o  -*^  '        ^^  ^ 

3  41 


Intervals 


97 


For  use  in  these  lessons,  beat  as  a  duple  meter. 

Practise  the  following;  beat  1  2,  and  intone  the  rhythm. 

e  6    J.        J.         ,  J.        J.        ,J.        J.        .J^_^J     " 

J.  J.  .;73;T3.J-  /T3'J^_J 
J.  773. J-  J7^  .  JT3JT3./T3J 
JT2S72iJ-  J.  ifTlfJliJ-  J 
/73  J7^  .  J7D  JTJ  i  J-     J-     tj^^J 

(4)  Phrases  for  Dictation  containing  5  4;  4  5: 
1  2 


(a)  Outline  rhythm — two  dots  in  a  measure: 


measure  .     •      >  •     •     i  •     •     )  •      •     n 


representing  the  pulses.    As  the  phrase  is  played,  place  pencil  on 
dot  as  the  pulse  recurs  and  decide  the  number  of  notes  to  the  pulse. 
If  there  are  three,  place  3  under  the  dot. 
Number  2  would  be  outlined 

e I  .     .     »    ^     .    n 

(b)  Pitches  are  dictated  and  outlined  in  the  usual  manner. 

Note.     In  harmonizing  phrases  in  6/8  for  dictation,  use  an  accompaniment 
which  will  give  two  pulses  in  each  measure.     Number  8  might  be  played  thus: 


98 


Ear-Training  and  Sight-Singing 


Section  C. 

1   (a)  Contrast  the  following  exercises,  beating  1  2. 

(b)  Practise  the  following;  beat  1  2,  and  intone  rhythm. 


J.  J.    >J7iJn  J  i^j  J), J.  J 

II 

J  j^j  -h.jTij  •h.;7^j  i^.j^^j 

II 

J7:3;7:  j  J)j  ;^.j.   j.    .j^:^j 

II 

J-   17^  .J.   J  ;^.j73j  -b.j^;;j 

II 

J-     J.     .J   J^J   ;>.J7J/73  .J.    J 

II 

jT^j  J^.JTJJ  ;^.;t3j  ii.j^^^j 

II 

J-     J.     .JT^J-     .JT3/7:3.J^J 

II 

J  j^j-    .J  i^j.    .J  ;^/j3  .J  J) J 

II 

(2)  Exercises  in  Sight-Singing: 
1 


Intervals 


99 


100 

Ear-Training  and  Sight-Singing 

A   yN                                                                                                                                 20 

V^  JTiA  T  ^'^  P'^  H'  'rJLT/^^  'f  ^-  "j  /^'J  ^'' 

■J^  y fw.     1      1    .      k klfT^-.ty      Ni>«-I«      Nl      1    I^^^^BiLj    r-: 1 

^=^ 

=^t#^ 

■•■ij j'jkLLj'  r  II  ^'Lij^i  'J.  1' j'jjj  ij  j^i 

CHAPTER  X 
Chords 

A  Chord  is  three,  four  or  five  tones  placed  one  above  the  other 
in  thirds;  all  the  tones  to  be  sounded  at  the  same  time. 

The  tone  upon  which  the  chord  is  built  is  the  Root  of  the  chord. 

The  next  tone  is  the  third,  the  next  the  fifth,  the  next  the 
seventh,  the  next  the  ninth*  of  the  chord.  Each  tone  is  named  from 
its  interval-relationship  to  the  root  of  the  chord. 

A  three-tone  chord  is  a  Triad.  A  four-tone  chord  is  a  Chord 
of  the  Seventh  (seventh-chord). 


Triad.  Chord  of  the  1^.  Chord  of  the  04 

A  five-tone  chord  is  a  Chord  of  the  Ninth. 

A  chord  may  be  built  upon  each  tone  of  a  key. 

A  chord  is  named  from  the  degree  of  the  scale  which  is  used  as 
its  root.  If  the  root  is  the  first  degree  of  the  scale,  it  is  a  One 
Chord  (I),  or  Tonic  Chord;  if  the  fifth  degree,  a  Five  Chord  (V),  or 
Dominant  Chord;  etc. 

Roman  numerals  are  used  as  symbols  of  chords. 

Most  chords  are  triads  with  a  duplication  one  octave  higher  of 
one  of  the  tones,  generally  the  root.  The  tonic  chord  is  1,  3,  5,  8; 
the  dominant  chord,  5,  7,  2,  5;  the  subdominant  chord,  4,  6,  8,  4;  the 
two-chord  2,  4,  6,  2;  the  six-chord,  6,  8,  3,  6;  the  three-chord,  3,  5,  7,  3. 


The  I,  V  and  IV  chords  consist  of  a  major  3rd  and  a  perfect 
5th  from  the  root.  These  chords  are  major  chords.  The  II,  VI 
and  III  chords  consist  of  a  minor  3rd  and  a  perfect  5th  from  the 
root.  These  chords  are  minor  chords.  The  VII  chord  consists  of 
a  minor  3rd  and  a  diminished  5th  from  the  root.  As  this  chord 
upon  seven  is  imperfect,  i.  e.,  the  only  chord  with  a  diminished  5th, 
and  is  included  in  and  used  as  the  seventh-chord  built  upon  the 
dominant,  it  is  not  considered,  by  most  theorists,  as  an  independent 
triad. 

A  chord  is  major  or  minor  according  to  the  size  of  its  third. 
•In  this  connection  the  9th  is  an  independent  interval. 

[101] 


102 


Ear-Training  and  Sight-Singing 


Lesson  18 
Section  A. 

Suggestions  for  Study: 

Note.  As  chords  are  used  in  this  book  only  in  broken  form  in  melodic 
construction,  not  as  in  four-part  chord-writing,  these  exercises  are  to  be  written 
in  the  treble,  in  close  position. 

(1)  Erect  the  I,  V,  II,  IV,  VI,  III  chords  in  every  major  key, 
using  signatures. 


C  major 


Example: 


(2)  Learn  the  quality  of  the  chords  in  a  major  key.  The  I,  V 
and  IV  chords  are  major;  the  II,  VI  and  III  chords  are  minor. 

(3)  Learn  to  recite  rapidly  the  numbers  of  the  scale-degrees 
which  make  up  the  chords.  Example:  The  I  chord,  1,  3,  5,  8;  the 
V  chord,  5,  7,  2,  5;  etc. 

(4)  Reduce  the  tones  in  each  measure  to  thirds  and  name 
the  chord: 


Section  B. 

(1)  Review  the  intervals  of  Lesson  16,  Section  C,  page  92. 
Add  the  following: 

®  ®  © 


(2)  (a)  Play  the  tonic  chord  of  every  major  key. 

(b)  Hold  down  the  keys  (of  the  chord)  and  sing    as  an 
arpeggio:  1358;   8531. 

(c)  Hold  down  the  keys  and  sing,  first  by  number,  then  by 
letter,  the  root,  third,  fifth  and  octave. 

(3)  Melodies  for  Dictation  and  Sight-Singing: 
1  •^^  2 


Chords 


103 


In  outlining  the  rhythm   J  J^  in  §  write  a  2  under  the  dot. 
This  is  the  only  combination  of  two  notes  on  a  pulse  in  6/8.  Number 

2  would  be  outlined  8  a   »   'i  *    'i   i   *  **^*    " 

•  The  figure     J   Ji     is  easily  recognized  as  a  limping  or  lame 
figure. 

Section  G. 

(1)  Practice  of  the  up-beat  in  6/8  meter.    Arm-movement. 

li  t*     Tap  the  beat  and  intone  rhythm. 

(c)J  JiQ3JAQ3.J^j;)J^.«    -     .  AJAOD.JiiOD.JJ^JiitJ- J. 


<d) 


(2)  Exercises  in  Sight-Singing: 
1 


104 


Ear-Training  and  Sight-Singing 


Chords 


105 


Lesson  19 

In  Minor,  chords  are  erected  in  the  same  manner  as  in  major. 
The  quality  of  the  chords  is  different,  because  of  the  lowering  of  the 
third  and  sixth  degrees. 

The  I  and  IV  chords  have  a  minor  3rd  and  perfect  5th,  and 
are  Minor  Chords. 

The  V  and  VI  chords  have  a  major  3rd  and  perfect  5th,  and 
are  Major  Chords. 

The  II  chord  has  a  minor  3rd  and  diminished  5th,  and  is  a 
Diminished  Chord. 

The  III  chord  has  a  major  3rd  and  augmented  5th,  and  is  an 
Augmented  Chord. 

lUostration: _     _ 

I         V        11        rv       VI       ni 
Note.    The  III  chord  is  seldom  used  in  major  or  minor. 

A  chord  is  diminished  or  augmented  according  to  the  size  of 
its  fifth. 

A  Seventh-Chord,  i.  e.,  a  chord  of  four  different  tones,  may  be 
built  upon  each  tone  of  the  key  except  I.  The  seventh-chord  upon 
I  is  questionable.    All  seventh-chords  demand  that  another  chord 


106  Ear-Training  and  Sight-Singing 


shall  follow  to  make  them  complete,  and  as  the  I  chord  is  the  key- 
centre  and  must  give  a  feeling  of  rest,  we  should  not  kill  this 
feeling  by  adding  a  seventh. 

The  seventh-chords  built  upon  V  and  II  are  the  most  used. 
V^  and  IF  are  symbols  of  these  chords. 

The  most  used  ninth-chord  is  the  one  built 
upon  V,  the  V  chord.  This  chord  is  most  sat- 
isfactory when  the  root  is  omitted,  pV. 


Section  A. 

Suggestions  for  Study: 

(1)  Erect  the  I,  V,  II,  IV,  VI  and  III  chords  in  every  minor 
key.     (See  illustration,  p.  105.) 

(2)  Learn  the  quality  of  the  chords  in  minor  (the  I  and  IV, 
minor,  etc.). 

(3)  ErectaV  and  IP  chord  in  every  key.     Learn  the  numbers 
of  the  scale-degrees  which  make  these  chords. 

(4)  Erect  a  V  chord  in  every  key.     Learn  the  numbers  of  the 
scale-degrees  which  make  this  chord. 

(5)  Each  of  the  following  measures  consists  of  the  tones  of 
some  chord  in  the  key  of  D  major. 

Reduce  to  chord-formation  and  name  the  chord. 


(6)  Play  first  the  I,  then  the  V,  then  the  I  chord  in  every 
major  key. 

Play  first  the  I,  then  the  IV,  then  the  I  chord  in  every 
major  key. 

Play  first  the  I,  then  the  IV,  then  the  V  then  the  I  chord 
in  every  major  key. 

(7)  Repeat  the  same  in  minor. 

(8)  Learn  the  names  of  the  pitches  of  the  tonic,  dominant 
and  subdominant  chords  in  every  key. 


Chords 


107 


Section  B. 

(1)  Review  the  Intervals  of  Lesson   16,  Section  C,  page  92, 
and  Lesson  18,  Section  B,  page  102. 
Add  the  following: 


(2)  (a)  Play  the  tonic  chord  in  every  minor  key. 

(b)  Hold  down  the  keys  (of  the  chord)  and  sing  as  an 
arpeggio    1358;   853  1. 

(c)  Hold  down  the  keys  and  sing,  first  by  letter,  then  by 
number,  the  root,  third,  fifth  and  octave. 

(3)  Phrases  for  Dictation  and  Singing: 


Note.     A  phrase  in  compound  meter  seems  to  subdivide  into  two  equal 
sections.     In  singing  the  phrase  it  is  generally  a  necessary  to  take   quick  or 


108 


Ear-Training  and  Sight-Singing 


"catch"  breath  between  these  sections.  In  memorizing  the  phrase  the  mind 
should  divide  it  into  two  sections,  as  the  breath  demands  in  singing.  Phrases 
which  are  impossible  to  remember  in  one  section  can  be  easily  retained  by 
taking  a  mental  catch  breath.  The  mind  does  not  easily  retain  a  passage  which 
is  longer  than  that  which  the  average  singer  can  sing  in  one  breath.  This  is  the 
foundation  of  phrasing  in  music. 


Section  G. 

(1)  Review  the  rhythmic  exercises  of  Lessons  18,  Section  C, 
page  103;  17,  Section  C,  page  98;  and  15,  Section  B,  page  86. 

(2)  Practise  rhythms  while  walking  about  the  room,  taking 
a  step  for  each  pulse  and  intoning  the  figures,  subdividing  and 
adding  the  pulses. 

(3)  Exercises  in  Sight-Singing: 
1  2 


-rt«»ii  j'irprffirrrrrrirr;rrrirrrr  j'lr^fMr-ffH^ 


Chords 


109 


110  Ear-Training  and  Sight-Singing 


Reading  Lesson 

Chords  are  used  in  music  to  establish  keys  and  to  give  accents. 
The  progression  or  resolution  of  one  chord  into  another  gives  an 
accent.  The  chord  upon  the  unaccented  pulse  resolves  into  the 
chord  upon  the  accented  pulse,  making  the  accent. 

Chords  are  built  upon  the  tones  of  the  key,  i.  e.,  the  different 
pitches  found  by  dividing  a  string  into  thirds,  and  not  upon  these 
pitches  arranged  in  the  major  scale  relationship. 

The  chords  are  related  and  progress  to  the  I  chord,  as  these 
tones  are  related  to  the  key- tone.     If  we  begin  with  C,  the  tones 

of  the  key  are: 

•^ 

These  tones  as  roots 

of  chords  and  arranged  in 

this  order  are :  III 

VI 

II 

V 

I 

IV 

As  we  progress  away  from  C,  the  tones  become  less  active; 
as  they  come  nearer  C,  more  active.  In  arranging  the  chords  we 
transpose  the  position  of  the  IV  chord,  and  place  it  between  the 
II  and  VI,  as  the  IF  chord  includes  the  tones  of  the  IV,  and  is 
nearer  the  key-centre. 

♦    ™  We  begin  with  the  I  chord,  and  may  progress 

to  any  chord.  As  all  other  chords  are  active,  they 
will  immediately  begin  to  progress  to  more  active 
chords  until  they  come  to  rest  on  the  I  chord. 

If  we  progress  from  the  I  to  the  VI,  the  VI  will  progress  to 
some  chord  nearer  the  centre,  the  IV,  II  or  V,  and  then  to  the  I. 

We  may  consider  the  series  of  chords  as  a  six-story  building. 
We  take  the  elevator  from  the  first  floor  to  the  sixth  floor.  If  we 
jump  from  the  window  we  move  down,  going  faster  and  faster 
until  we  reach  the  ground.  It  would  be  impossible  to  turn  back 
at  any  point.  We  go  from  I  to  any  other  chord,  but  all  other  chords 
must  progress  to  a  chord  nearer  the  centre  of  the  key. 


Chcrrds  111 


The  V  and  IV  chords  are  the  only  chords  which  may  progress 
immediately  into  the  I.  The  other  chords  will  pass  through  V  or 
IV  before  going  to  I.  The  III  always  goes  to  IV  or  II  before  going 
toV. 

There  are  many  exceptions  to  these  progressions,  but  the  funda- 
mental progressions  are  most  used  and  should  be  thoroughly  learned 
before  exceptions  are  attempted. 


CHAPTER  XI 

Melody — Regular  Scale-Line  and  Narrow  Skips 

A  Melody  is  a  succession  of  single  related  tones.  A  melody 
must  have  form  and  rhythmic  variety. 

A  melody  should  be  smooth  or  legato.  As  stepwise  or  diatonic 
progression  is  the  smoothest  progression  in  music,  a  melody  may 
progress  up  or  down  a  major  scale. 

In  a  major  scale  there  are  rest  tones  and  active  tones.  All 
active  tones  resolve  to  the  nearest  rest  tones.  Fundamentally, 
all  active  tonea-in  a  melody  should  resolve.  Theoretically,  the 
progression  3  4  5  is  not  possible,  as  4  must  resolve  to  3 ;  5  6  7  8, 
as  6  must  resolve  to  5;  8  7  6  5,  as  7  must  resolve  to  8;  but  see 
Chapter  XII. 

A  tone  may  be  repeated  usually  not  more  than  five  times; 
although  two  or  three  repetitions  are  enough.  Repetitions  give 
poise  to  a  melody. 

Next  to  stepwise  or  scale  progression,  the  skip  of  a  third  is  the 
smoothest  progression. 

From  the  rest  tones  the  jump  of  a  third  may  be  made  in  either 
direction.  If  the  jump  is  made  to  an  active  tone,  it  must  resolve. 
In  jumping  from  5  to  7,  7  will  resolve  to  8. 

From  the  active  tones  jumps  are  naturally  made  in  the  direction 
of  their  resolution — up  from  7,  down  from  6  or  4,  and  either  way 
from  2. 

Only  one  skip  of  a  third  will  be  made  in  the  same  direction. 
The  jump  of  a  third  from  a  tone  and  inunediately  back  to  the  tone 
may  be  made,  as  1  3  1. 

These  are  the  fundamental  laws  which  govern  simple  melodic 
movement.  From  these,  or  by  breaking  these  laws,  we  learn 
to  use  the  more  interesting  melodic  movements. 

In  literature  sentences  of  different  construction  are  used  as 
forms  in  which  to  express  a  complete  thought.  In  music  there  are 
similar  forms.  The  smallest  form  expressing  a  complete  thought 
is  a  phrase. 

A  melody  in  phrase-form  may  be  of  any  length.  When  regu- 
lar, it  is  four  measures.  A  phrase  may  begin  on  an  accented  or 
unaccented  pulse,  with  any  tone  of  the  tonic  chord,  i.  e.,  1, 3,  5  or  8. 
A  phrase  must  end  on  an  accented  pulse  of  the  fourtii  measure, 

(1121 


Melody — Regular  Scale-Line  and  Narrow  Skips        113 


with  the  key- tone,  1  or  8,  preceded  by  some  tone  of  the  dominant 
chord,  5,  7  or  2.  If  the  meter  is  duple  or  triple,  it  will  end  on  the  first 
pulse.  In  a  compound  meter,  it  will  end  on  either  the  primary 
or  secondary  accent.  This  ending  or  close  is  a  Perfect  Authentic 
Cadence. 

A  melody  may  also  end  on  either  3  or  5,  but  the  effect  is 
incomplete  and  is  equivalent  to  a  question-mark  in  punctuation. 

As  a  summary:  fundamentally,  if  a  melody  is  correct: 

(1)  All  active  tones  will  resolve,  therefore  the  progressions 
3  4  5,   5  6  7  8,   8765,  cannot  be  used. 

(2)  A  tone  may  be  repeated  two  or  three  times. 

(3)  From  rest  tones  jumps  of  a  third  are  made  in  either 
direction. 

(4)  From  active  tones  jumps  of  a  third  are  made  in  the 
direction  of  their  resolution. 

(5)  A  melody  may  begin  on  an  accented  or  unaccented  pulse 
with  1,  3,  5  or  8. 

(6)  A  melody  will  end  on  an  accented  pulse  of  the  fourth 
measure  with  1  or  8,  preceded  by  7  or  2, 

(7)  The  melody  will  be  a  four-measure  phrase  in  length. 

Lesson  20 
Section  A. 

Suggestions  for  Study: 

(1)  Write  a  melody  in  each  major  key,  employing  the  funda- 
mental laws  given  above.  Use  the  following  meters:  2/2,  2/4, 
3/2,  3/4,  3/8,  4/4,  4/2,  6/8,  6/4.  Make  the  rhythm  uniform,  i.  e., 
a  note  for  each  pulse  except  in  the  last  measure.  Use  an  added 
beat  to  the  last  measure. 

(2)  How  to  write  melody.  Rule  four  measures  on  the  staff. 
If  the  meter  is  to  be  3/4  and  the  rhythm  begins  on  the  accent,  make 
three  dots  under  each  measure  to  represent  the  pulses.  On  the 
first  pulse  write,  13  5  8.    As  this  is  a  simple  meter,  the  melody 


must  end  on  the  first  pulse  of  the  fourth  measure.    Place  1  and  8 
on  that  pulse.    On  the  pulse  preceding,  5,  7  or  2  must  be  used  to 


114 


Ear-Training  and  Sight- Singing 


make  a  cadence.  The  fifth  degree  cannot  be  used,  as  the  jump 
from  5  to  8  is  larger  than  a  3rd.  Begin  with  any  tone,  13  5  8, 
and  progress  according  to  the  above  laws  and  arrange  the  tones 
one  on  each  pulse,  having  the  melody  end  so  that  either  7  or  2 
goes  to  8.  You  might  begin  with  5,  use  6  on  the  next  pulse,  which 
must  progress  to  5,  repeat  5,  jump  to  7,  which  should  resolve  to  8, 
jump  to  3,  come  back  to  2,  jump  to  7,  which  resolves  to  8. 


In  the  same  way,  if  the  melody  is  written  in  4/4,  beginning 
on  the  up-beat  and  ending  on  the  secondary  accent.  Make  the 
outline  first,  then  write  the  tune.  6/8  is  constructed  in  the  same 
manner. 


~r*^ 


Section  B. 

(1)  Review  the  Intervals  of  Lessons  16,  Section  C,  page  92; 
18,  Section  B,  page  102;  and  19,  Section  B,  page  107. 
Add  the  following : 

d)  (?)  •         <D 


(2)  Unrelated    or    Absolute    Intervals. — Major    and    Minor 
Thirds. 

m  ®  ® 


(a)  Play  each  of  the  intervals  of  (1)  and  sing  (l  3)  (Major  3rd). 
Play  the  lower  tone,  sing  the  upper. 

Play  the  upper  tone,  sing  the  lower. 

(b)  Play  each  of  the  intervals  of  (2)  and  sing  3  5  (Minor  3rd). 
Play  the  lower  tone,  sing  the  upper. 

Play  the  upper  tone,  sing  the  lower. 

(c)  Play  each  of  the  intervals  of  (3)  and  determine  if  it  is 
a  major  or  a  minor  3rd,  testing  if  it  Is  1  3  or  3  5. 


Melody — Regular  Scale-Line  and  Narrow  Skips        115 


(3)  Review  the  chords  of  Lessons  18,  Section  B,  page  102,  and 
19,  Section  B,  page  107. 

(a)  Play  the  Dominant  (V)  Chord  in  every  Major  Key. 

(b)  Hold  down  the  keys  and  sing  as  an  arpeggio  5  7  2  5; 
5  2  7  5. 

(c)  Hold  down  the  keys  and  sing,  first  by  letter,  then  by 
number,  the  root,  third,  fifth  and  octave. 

(4)  Melodies  for  Dictation  and  Singing,  containing  progres- 
sions allowed  in  Lesson  20,  Section  A,  page  113. 

1  ^  2 


These  melodies  are  to  be  dictated,  outlined  and  written  in  the 
usual  manner. 


Section  G. 


(1)  Review  Lesson  19,  Section  C  (1)  and  (2),  page  108. 

(2)  Exercises  in  Sight-Singing: 
1 


116  Ear-Training  and  Sight-Singing 


Melody — Regular  Scale-Line  and  Narrow  Skips        117 


CHAPTER  XII 

Melody — Irregular  Scale-Line  and  Narrow  Skips 

Fundamentally,  active  tones  have  to  resolve,  but  they  may  be 
forced  in  the  wrong  direction  by  progressing  along  the  scale.  The 
progressions  8765,  5678,  and  3  4  5,  are  permissible  be- 
cause in  each  of  these  progressions  the  scale-line  and  the  pitch  of  the 
first  and  last  tones  is  heard,  and  not  the  character  of  the  separate 
tones. 

In  progressing  up  or  down  a  scale,  if  the  melody  stops,  turns 
back,  or  repeats  a  tone,  the  scale-line  is  broken.  The  tone  at  which 
the  break  is  made  is  brought  into  prominence.  If  this  tone  is  a  rest 
tone,  there  is  nothing  involved.  If  it  is  an  active  tone,  it  must 
resolve.  In  progressing  up  the  scale,  the  melody  may  turn  at  any 
tone  except  7,  which,  because  of  its  own  upward  tendency,  is  forced 
to  proceed  to  8.  In  progressing  down  the  scale,  the  melody  may 
turn  at  any  tone  but  six  or  four,  which  are  similarly  on  the  way 
down  and  will  have  to  continue. 

Fundamentally,  jumps  of  a  third  are  made,  from  active  tones, 
only  in  the  direction  of  their  resolution.  Jumps  of  a  third  in  the 
other  direction,  i.  e.,  down  from  7,  up  6  or  4,  are  possible,  but  the 
melody  must  turn  back  immediately. 

After  a  jump  of  a  third  from  an  active  tone,  contrary  to  the 
direction  of  its  resolution,  the  melody  may,  first,  return  along  the 
scale  and  resolve  the  active  tone,  e.  g.,  7  5  6  7  8;  second,  it  may 
jump  back  to  the  active  tone  and  resolve  it,  7  5  7  8;  third,  it  may 
turn  back  for  one  tone  and  progress  down  the  scale,  7  5  6  5  4  3. 
The  same  applies  to  the  other  active  tones. 


Lesson  21 
Section  A. 

Suggestions  for  Study: 

(1)  Write  a  melody  in  each  major  key,  using  3/2,  3/4,  3/8,  4  4, 
4/2,  6/4  and  6/8  meters.  Rhythm  uniform,  in  the  same  manner 
as  in  the  preceding  lesson,  but  forcing  the  active  scale-degrees  in 

[118] 


Melody — Irregular  Scale-Line  and  Narrow  Skips      119 


the  wrong  direction,  i.  e.,  using  the  progressions  3  4  5;    5  6  7  8; 
8  7  6  5;  and  jumping  a  third  up  from  6  or  4,  and  down  from  7. 

Section  B. 

(1)  Review  the  Intervals  of  Lessons  16,  Section  C,  page  92; 
18,  Section  B,  page  102;  19,  Section  B,  page  107;  and  20,  Section 
B,  page  114. 

(2)  Absolute  Intervals  :  Perfect  Fifth  and  Perfect  Fourth. 


(a)  Play  each  of  the  intervals  of  (a)  and  sing  1  5  (Perf.  5th). 
Play  the  lower  tone,  sing  the  upper. 

Play  the  upper  tone,  sing  the  lower. 

(b)  Play  each  of  the  intervals  of  (b)  and  sing  5  8  (Perf.  4th). 
Play  the  lower  tone,  sing  the  upper. 

Play  the  upper  tone,  sing  the  lower. 

(c)  Play  each  of  the  intervals,  of  (c)  and  determine  if  it  is 
a  perfect  5th  or  a  perfect  4th,  testing  if  it  is  1  5  or  5  8. 

(3)  (a)  Review  the  chords  of  Lessons  18,  Section  B,  page  102; 
19,  Section  B,  page  107;  and  20,  Section  B,  page  115. 

(b)  Play  the  Dominant  Chord,  followed   by  the    Tonic 
Chord,  in  every  Major  key. 

Major  key 


(c)  Sing  in  every  key,  with  numbers  and  letter-names: 
572  5,   135  8;       572  5,   8531 
527  5,   8531;       527  5,    1358 


(4)  Melodies  for  Dictation  and  Singing,  containing  progres- 
sions allowed  in  Lesson  21,  Section  A: 

2 


120 


Ear-Training  and  Sight-Singing 


Section  G. 


(1)  Rhythmic  Drill. 


*f775    infa"*!! 


(» ;    J      J 


w  j 


<h) 


i    ^    i    xrz  n  n  ^jTnjmjTTi 
J    j~^  n  in  JTS^j^irz  jnjf^ 


(a)  Beat  the  meter;  think  the  rhythm,    then   intone   the 
rhythm. 

(b)  Walk  the  meter,  then  intone  the  rhythm. 


Melody — Irregular  Scale-Line  and  Narrow  Skips       121 


(2)  Exercises  in  Sight-Singing: 
1 


122  Ear-Training  and  Sight-Singing 


CHAPTER  XIII 

Melody — Wide  Skips 

Any  skip  larger  than  a  third  is  a  wide  skip.  Skips  of  all  in- 
tervals are  made,  though  a  skip  beyond  an  octave  is  rare. 

All  skips  must  be  between  tones  of  a  chord.  The  jump  from 
1  to  7  or  7  to  1  is  not  good,  as  there  is  no  7th  in  the  I  chord.  The 
skip  from  3  up  to  7  or  from  7  down  to  3  is  not  used,  as  it  is  part  of 
the  III  chord,  which  is  so  far  from  the  key-centre  that  these  skips 
sound  as  if  in  a  new  key. 

After  every  wide  skip  the  melody  will  turn  and  progress  in  the 
other  direction,  preferably  along  the  scale.  It  may  continue  along 
the  scale  in  the  same  direction  for  two  or  three  tones,  and  then 
turn.  Wide  skips  are  better  made  within  the  measure,  and  not 
over  the  bar. 

In  jumping  to  active  tones  it  is  better  to  jump  from  above  to  7, 
and  from  below  to  6  or  4,  so  that  the  melody  will  turn  after  the  wide 
leap  and  at  the  same  time  resolve  the  active  tones.  If  a  wide  skip 
is  made  to  7  from  below,  or  to  6  or  4  from  above,  the  melody  may 
turn  and  leave  the  active  tone  unresolved,  as  the  necessity  for 
turning  after  a  wide  skip  counteracts  the  demand  for  resolution  of 
the  active  tone. 

A  wide  skip  may  be  made  in  either  direction  from  a  rest  ionet 
and  to  any  tone  except  the  progressions  given  above  (17  and  3  7). 

The  natural  direction  in  which  to  jump  from  active  tones  is  in 
the  direction  of  their  resolution.  All  skips  up  from  7  and  down 
from  6  and  4  are  correct. 

A  skip  may  be  made  down  from  7.  The  only  skips  which 
sound  well  are  7  to  5,  and  7  to  2. 

A  sldp  may  be  made  up  from  4  or  6  to  any  tone. 

The  most  beautiful  melodies  possess  skips  of  a  third,  an 
occasional  wide  skip,  repeated  tones  and  a  predominance  of  scale- 
progression. 

The  resolution  of  active  tones  may  be  deferred,  as  long  as 
they  are  resolved  after  three  or  four  tones.  We  may  progress  5  4  5 
if  it  is  followed  by  3,  2  3  or  1  2  3.  Also  5  6758  or  56752  8, 
or5  6  7  5  3  2  8. 

ri23i 


124 


Ear-Training  and  Sight-Singing 


The  ear  will  wait  during  the  passing  of  three  or  four  tones  for 
an  active  tone  to  resolve,  but  will  never  feel  satisfied  unless  it 
eventually  does  resolve.    Thus: 


546S       64628       646128         60768667628       6676321 


Lesson  22 


Section  A. 


Suggestions  for  Study: 

(1)  Write  a  melody  in  each  major  key  in  the  same  manner 
lis  in  previous  lessons  and  use  an  occasional  wide  skip. 

Section  B. 

(1)  Review  the  Intervals  of  Lessons  16,  Section  C,  page  92; 
18,  Section  B,  page  102;  19,  Section  B,  page  107;  20,  Section  B, 
page  114;  and  21,  Section  B,  page  119. 

(2)  Absolute  Intervals.     The  Minor  6th. 


>°  ^- 


(a)  Play  each  of  the  intervals  of  (a)  and  sing  3  8  (minor  6th). 
Play  the  lower  tone,  sing  the  upper. 

Play  the  upper  tone,  sing  the  lower. 

(b)  As  the  minor  6th  is  often  confused  with  the  perfect 
4th,  play  each  of  the  intervals  of  (a)  followed  by  the  perfect 
4th  in  the  same  key,  as  outlined  in  (b).  Sing  3  8  (minor  6th), 
5  8  (perfect  4th).     Compare  the  difference  in  quantity  and  quality. 

(c)  Play  each  of  the  intervals  of  (c)  and  determine  if  it  is  a 
minor  6th  or  perfect  4th,  testing  if  it  is  3  8  or  5  8. 

(3)  Review  the  chords  of  Lessons  18,  Section  B,  page  102; 
19,  Section  B,  page  107;  20,  Section  B,  page  115;  and  21,  Section 
B,  page  119. 

(4)  Melodies  for  Dictation  and  Singing,  containing  progressions 
allowed  in  Lesson  22,  Section  A  and  ^T^  •»  f  »«"» f 


Melody — Wide  Skips 


125 


NOTK.     In  outlining  the  rhythm 


Id  ^  and  «    ^^rite  4  under  the  pulse. 


No.  1      ? 


Harmonize  the 


-OT3 


with  one  chord. 


In  memorizing  pitches  do  not  try  to  remember  the  numbers 
or  the  first  tone.  Relax  and  listen  to  the  entire  tune.  After  two 
or  three  playings  it  should  be  retained  by  the  mind,  so  that  it  can 
be  sung  and  analyzed.  Determine  the  construction  and  general 
outline  of  the  melody,  whether  scale-line  or  skips  are  used.  Look 
at  the  rhythmic  outline  and  determine  upon  which  pulses  these 


occur. 


Number  1  would  be  analyzed  thus:  1st  measure,  scale-line 
from  1  to  5  on  first  pulse  of  the  2nd  measure ;  2nd  measure,  repeti- 
tion of  5  6;  3rd  measure,  wide  skip  5  to  rest  tone  8;  scale-line  back 
to  5,  and  then  cadence  2  1, 


126 


Ear-Training  and  Sight-Singing 


Section  C. 


(1)  Rhythmic  drill  for  JTO  m  J  and  J77T^  i»  g 


«j 


(b) 
(c) 


«U 


<f) 


<b) 


j  J   j    J     i/D/l«n«n  iJ353-OTJ335J333.o  ■ 

J   J   /I /I  i/l/l /333J353i«n -H -533«B33io  « 

Jl  Jl  J353  J353 1 /3  .n  J333  J535 1 J333  J355  J333  J333 1  o 

J  J   r3  J335./3J333J353r3 -J     .^-^ -S'"    ^  .  " 
J       J    J     ./3J353J  i/l  JJH/l  JtB.J   Jl  j  i. 

J.;^J335J    J     .-nJ339J    J     ,J3nr3  J3Sr3  ./3JS3J  .. 

m  J    i)  .;g?TOm  ..^raj-n  .jTj.  „ 

(a)  Beat  the  meter;  think  the  rhythm;  intone  the  rhythm. 

(b)  Walk  the  meter,  intone  the  rhythm. 
(2)  Exercises  in  Sight-Singing: 


Melody — Wide  Skips 


127 


'm  !^j  pp\^ii  \:is!^'^  i^L^  \I^J^^ 


128  Ear-Training  and  Sight-Singing 


CHAPTER  XIV 

Melody — Consecutive  Skips 

Any  consecutive  skips  in  the  same  direction  in  a  melody  must 
be  between  tones  of  a  chord. 

From  1  we  can  use,  theoretically,  only  the  tones  1,  3,  5,  8  (I 
chord  or  1  4  6  8  (IV  chord);  rarely  1  3  6  8  (VI  chord). 

From  5  we  can  use,  theoretically,  only  the  tones  5,  7,  2,  4,  6 
(V»  chord),  or  5  1  3  5  (I  chord). 

From  4  we  can  use,  theoretically,  only  the  tones  4,  6,  8,  or  rarely 
3  (IV  chord),  or  4  6  2  4  (II  chord). 

From  2  we  can  use,  theoretically,  only  the  tones  2,  4,  6,  8 
(IF  chord),  or  2  5  7  2  (V  chord). 

From  6  we  can  use,  theoretically,  only  the  tones  6,  8,  3,  rarely 
5  (Vr  chord),  or  6  2  4  6  (II  chord). 

From  7  we  can  use,  theoretically,  only  the  tones  7,  2,  4,  5,  6 
(V»  chord). 

From  3  we  can  use,  theoretically,  only  the  tones  3,  5,  8, 
(I  chord),  3,  6,  1  (VI  chord). 

Consecutive  skips  in  the  same  direction  are  made  for  one 
measure,  one-half  measure,  or  one  pulse. 

Consecutive  skips  are  not  continued  beyond  the  bar,  as  this 
keeps  the  same  chord,  and  chords  must  change  over  the  bar  to 
give  an  accent. 

Consecutive  skips  are  generally  followed  by  scale-line,  or  single 
wide  or  narrow  skips  in  the  opposite  direction.  (After  consecutive 
skips,  skips  in  the  other  direction  are  dangerous,  because  they  are 
apt  to  give  poor  chord-progression.  This  will  be  avoided  by  using 
the  scale-line  for  three  or  four  tones.) 


Lesson  23 
Section  A. 

Suggestions  for  Study: 

(1)  Write  a  melody  in  each  major  key,  employing  the  meters 
and  constructions  of  the  previous  lessons,  adding  consecutive  skips 
in  the  same  direction. 

[1291 


130 


Ear-Training  and  Sight-Singing 


Section  B. 

(1)  Review  the  intervals  of  Lessons  16,  Section  C,  page  92; 
18,  Section  B,  page  102;  19,  Section  B,  page  107;  20,  Section  B, 
page  114;  21,  Section  B,  page  119;  and  22,  Section  B,  page  124; 
and  add  Ab  major. 

(2)  Absolute  Intervals.    The  Major  6th. 


(a)  Play  each  of  the  intervals  of  (a)  and  sing  5  ^  (Major  6th). 

Play  the  lower  tone,  sing  the  upper. 
Play  the  upper  tone,  sing  the  lower. 

(b)  As  the  major  6th  is  often  confused  with  the  perfect 

4th,  play  each  of  the  intervals  of  (a)  followed  by 
the  perfect  4th  in  the  same  key,  as  outlined  in  (b). 
Sing  5  3  (Major  6th),  5  8  (Perfect  4th). 
Compare  the  difference  in  quantity  and  quality. 

(c)  Play  each  of  the  intervals  of  (c)  and  determine  if  it  is  a 

major  6th  or  a  perfect  4th,  testing  if  it  is  5  3  or  5  8. 
(3)  (a)  Review  the  chords  of  the  preceding  lessons. 

(b)  Play  the  dominant  seventh-chord  (V^)  in  each  major 
key,  followed  by  the  tonic  chord: 


(c)  Sing  the  V  chord  in  arpeggio  form  in  each  major  key: 
5  7  2  4,  followed  by  3  1. 
(4)  Melodies   for  Dictation  and  Singings   containing  progres- 
sions of  Lesson  23,  Section  A  and    .^TTS  «n  |  and  ^^^^  m  § 

2 


Melody — Consecutive  Skips 


131 


Note:    In  outlining  the  rhythm     J5??     ^"  ^^^  ^^^.  ^  ""^^  pulse. 
In  outlining  the  rhythm  f^^^^  in  6/8  with  6  under  pulse. 


No. « o  •    •    •  *    •    •  *    *    '  •    * 

"888       2  88        « 


Section  C. 

(1)  Review  rhythmic  drill  of  Lessons  21,  Section  C,  page  120; 
and  22,  Section  C,  page  126. 

(2)  Exercises  in  Sight-Singing: 


132 


Ear-Training  and  Sight-Singing 


j,iJi)  lic;l'7^^im,l^l|-  Ml/i  jjli  jjljl  1.1 


i^A>  r-''i^r^i''rii'  ^'r  r'''  r'?' irrirrri-'r''ir§ 


Melody — Consecutive  Skips  133 


CHAPTER  XV 
Minor  Melody 

We  have  seer  that  the  minor  scale  is  made  by  lowering  the 
third  and  sixth  degrees  of  the  major  scale.  In  the  same  way  any 
major  melody  may  be  made  minor  by  lowering  its  third  and  sixth 
degrees. 

A  minor  melody  may  be  written  with  the  proper  minor  signature, 
which  is  borrowed  from  the  major  key  of  the  same  name  as  the 
third  degree.  When  using  the  minor  signature  the  seventh  degree 
has  to  be  raised  by  an  accidental. 

Minor  melodies  are  constructed  in  the  same  manner  as  major 
melodies.  In  a  minor  scale  the  progression  from  6  to  7  is  an  Aug- 
mented 2nd.  An  augmented  2nd  sounds  like  a  minor  3rd,  which 
is  a  skip.  If  the  scale-progression  5  6  7  8  is  seen  on  the  paper, 
we  expect  to  hear  the  smooth  diatonic  progression  of  major  and 
minor  2nds.  In  minor,  when  using  the  progressions  5  6  7  8  or  8 
7  '6  5,  we  hear  the  jump  of  the  augmented  2nd,  while  the  eye  sees 
a  scale.  In  order  to  overcome  this  discrepancy  and  make  the 
progression  sound  diatonic,  the  6th  degree  is  raised  when  it  pro- 
gresses up  to  7,  and  the  7th  degree  is  lowered  when  it  progresses 

down  to  6: 

Note.  To  avoid  confusion,  remember  that  in  thinking  and  writing  in  minor 
the  7th  is  always  raised,  as  the  minor  signature  lowers  the  3rd,  6th,  and  7th 
degrees  of  the  major  scale. 

In  studying  the  above,  remember  that  you  help  6  up  to  7  by  raising  it,  and 
7  down  to  6  by  lowering  it. 

This  results  in  what  is  known  as  the  Melodic  Form  of  the  Minor 
Scale.  It  is  a  modification  of  the  Harmonic  Form,  and  is  used  only 
in  melodic  progression  when  6  goes  up  to  7,  or  7  down  to  6. 

The  following  are  exceptions:  The  form  with  the  lowered 
7th  is  used  in  the  ascending  scale-Hne,  when  the  IV,  II  or  VI 
chord  is  used  for  the  harmonization.  The  raised  form  of  the  scale 
would  clash  with  the  tones  of  the  chord.  For  the  same  reason, 
the  form  with  the  raised  6th  is  used  in  the  descending  scale-line, 
when  the  V  chord  is  used  for  the  harmonization. 

[134] 


Minor  Melody 


135 


g^[\'4  -Tj  -H  I  n  -N  I  ■ 

Hi.L    u   S  ::r   fl  re 


In  making  a  wide  skip  down  to  6  and  progressing  back  along 
the  scale  up  to  8,  the  raised  form  is  used  if  the  chord  impression 
is  the  V.  If  it  is  the  IV,  the  lowered  form  is  used.  In  making  a 
skip  from  any  tone  up  to  7  and  progressing  down  the  scale,  the 
raised  form  is  used,  as  the  chord  impression  is  always  the  V. 

The  Augmented  2nd  is  retained  while  jumping  in  the  V 
chord.  For  example,  the  following  appears  to  have  a  scale-pro- 
gression, 7  6  5  4,  but  it  is  in  reality  an  arpeggio,  formed  from 
the  tones  of  the  V  chord,  and  affects  the  ear  as  such. 


4    S     7    e    6    4   < 


Lesson  24 


Section  A. 


Suggestions  for  Study: 

(1)  Transpose  six  of  the  major  melodies  of  the  last  lesson  into 
the  Parallel  Minor  Key.  In  each  case,  change  to  the  minor  sig- 
nature and  raise  the  7th  degree.  If  there  are  any  6th  degrees  going 
up  to  7,  raise  the  6th  as  well.  If  there  are  7th  degrees  going 
down  to  6,  lower  the  7  th. 

(2)  Construct  six  new  melodies  in  minor.  Use  occasionally 
the  progressions  6  7  8  and  8  7  6. 

Section  B. 

(1)  Review  the  intervals  of  the  preceding  lessons. 

(2)  Absolute  Intervals.  Comparison  of  Major  and  Minor 
Sixths. 


(a)  Review  carefully  Lesson  22,  Section  B    (2),  page  124, 
and  Lesson  23,  Section  B  (2),  page  130. 


136 


Ear-Training  and  Sight-Singing 


(b)  Play  each  of  the  intervals  of  (a)  and  determine  if  it  is  a 
Major  or  Minor  6th,  testing  if  it  is  5  3  or  3  8. 

(3)  Review  the  chords  of  the  preceding  lesson. 

(4)  Melodies  for  Dictation  and  Singing: 
1  2 


Minor  melodies  are  to  be  dictated  the  same  as  the  major 
melodies. 

Section  C. 

(1)  Rhythmic  Study:  /^  •»  |  •"">  J 


<*'  I 


(di 


Minor  Melody 


137 


(2)  Exercises  in  Sight-Singing: 
1 


138  Ear-Training  and  Sight-Singing 


Folk-Song         12 


CHAPTER  XVI 
Regular  and  Irregular  Rhythms 

Rhythm  is  regular  when  the  longer  notes  occupy  the  accented 
pulses  of  the  meter.  It  is  irregular  when  the  shorter  notes  occupy 
the  accented  pulses  of  the  meter. 

Following  is  a  table  of  divided  and  added  pulses  of  a  regular 
quarter-note  rhythm  in  duple  and  triple  meter.  All  additions  and 
subdivisions  in  half  and  eighth-note  rhythms  are  in  proportion. 

*  •n  n 
J.       ^ 


4/4  corresponds  to  2/4  with  the  addition  of  a  J  and  J.  on 
the  first  pulse. 

11391 


140  Ear-Training  and  Sight-Singing 


Following  is  a  table  of  divided  and  added  beats  of  a  regular 
eighth-note  rhythm  in  a  six-pulse  meter. 


J-  J. 


J  •  on  first  pulse  aay  be  followed  on  second  by     J  J) 

J ^ 

J  J^       4       «  a  «        «  u  u  u  «    h„y  ot^g, 

^"^^      «      «        «       u      ci        «         c<       «        u   j  division 

rrm^  "   "  "  "   "    "  "  "|jw??5 

-EZIL 


•m 


Regular  and  Irregular  Rhythms 


141 


Outline  of  Melody-Writing 


Scale-Line 
I.    Rest  Tones. 
II.    Active  Tones. 


(a)  Must  resolve. 

(b)  May  be  forced  along 
scale-line. 

1.  In  progressing  up, 
do  not  turn  at  7. 

2.  In  progressing 
down,  do  not  turn 
at  6  or  4. 

(c)  Force  after  wide  skip. 

(d)  Force  by  using  con- 
secutive skips. 

(e)  Delay  resolution. 
Minor. 


III. 


(a)  Lower  3rd  and  6th  of 

major. 

(b)  6  to  7,  raise  6:  7  to  6, 

lower  7. 


Skips 

A  3rd  (a  narrow  skip). 

(a)  From  Rest  Tones. 
L  Both  directions. 

(b)  From  Active  Tones. 

1.  In  direction  of  reso- 
lution. 

2.  Contrary  to  direc- 
tion of  regular  resolu- 
tion. 

(a)  Must  turn. 


II.  Single  wide  skips. 

(a)  Must  be  part  of  a  chord. 

(b)  Must  turn. 
III.  Consecutive  skips. 

(a)  Must  spell  a  chord. 

(b)  Conform  to  the  meter. 

(c)  Must  turn. 


Lesson  25 


Section  A. 


Suggestions  for  Study: 

(1)  Construct  twelve  melodies  in  minor,  using  duple  or  triple 
meter  and  any  of  the  regular  rhythms  given  in  Chapter  XVI. 

(2)  Learn  the  outline  of  Melody-Writing. 

Section  B. 

(1)  Absolute  Intervals: 


$ 


'III   u   "  V  'J,..   8  wL^'gllll^^'''"  ^  ll,>'°ll'^°.l>B     ^^ 


^iJ'"."'5^  "  'HU  B'^^SII"     ""  n  ii;"!!'..!"^^ 


(a)  Play  each  interval:    listen  to  its  sound,  determine  its 
quantity  and  quality;    test  by  singing  numbers. 


142 


Ear-Training  and  Sight-Singing 


(2)  Intervals  in  a  Minor  Key: 
®  (g)  ® 


.  o      o  »  o  o 


I 


(a)  Rewrite  all  the  intervals  of  Lesson  16,  Section  C,  page 
91,  in  the  parallel  minor  key. 

(b)  Learn  the  difference  in  the  position  of  the  Major  and 
Minor  6th  and  3rd  in  a  Minor  key:  13a  Minor  3rd,  35a  Major 
3rd,  3  8a  Major  6th;  5  3  a  Minor  6th. 

(c)  Practise  in  the  same  manner  as  in  major. 

(3)  Practise  chords  as  in  the  preceding  lessons,  using  both 
major  and  minor  modes. 

(4)  Melodies  for  Dictation  and  Singing,  employing    J"^ 


Note.     In  outlining  rhythms  there  are  two  figures  of  three  notes  which  fall 


*j#     expressed 
on  one  pulse;  the  triplet,  and      i    uu  „ 


3       3  3      3 


I  • 


^     ^         ^3^ 


Regular  and  Irregular  Rhythms 


143 


For  these  exercises  all  consecutive  skips  in  the  same  direction 
are  in  the  tonic  chord. 

(a)  Follow  directions  for  pitch  analysis  given  in  Lesson  22, 
Section  B,  page  124. 

Section  C. 

(1)  Rhythmic  Study:  /TStoJaadJ   J1  ^  | 


(a)  f 

4 


<w      J   -H  J   J333.J   rj^J    /73.J:J3J935JT3J335.o 


J-     J-      ./n  J    j^  ,j  ;3j   *f3.j^j. 

J^.J    J9J j5./nj      J3.J  J9/T3  .J^J 

<«)    J^./T3  J53553J j^J     J9.J  i>  J    J3.J^ 

(2)  Exercises  in  Sight-Singing: 


(b) 
(c) 
(d) 


(|i^''i^ ii'j, iJJjj  j!.i I  f  I]  I  n  1^  I  'r; ir'r  p  ir ,.m  li 


144 


Ear-Training  and  Sight-Singing 


^I'hMf'rrrir^ji.iiijii^M'ii'iiiiy  'I'n  'niiii 


^ 


f 'ii-  J.  J  i-ij  J-J  JM/^^i  ^  iJ  nj^  IJJ  L^'j  jJi 


ilA  r7],i^in^r^|rni|^^jii^^ji|iii^pi  I  II 


CHAPTER  XVII 
Period -Form 

A  phrase  in  music  corresponds  to  a  simple  sentence  in  English. 
In  English  we  often  use  a  compound  sentence,  which  is  in  reality 
two  sentences,  one  qualifying  the  other,  each  expressing  a  thought. 
In  music  a  Period  corresponds  to  this  form. 

A  Period,  when  regular,  consists  of  two  phrases,  each  usually 
four  measures  long.  The  first  is  the  Antecedent  Phrase,  the  second 
the  Consequent  Phrase.  A  period  begins  as  any  phrase,  but  the 
antecedent  phrase  ends  with  some  tone  of  the  V-chord,  5,  7  or  2, 
instead  of  1  or  8.  This  gives  the  effect  of  being  incomplete,  and 
makes  a  Semi-Cadence.  The  consequent  phrase  ends  with  1  or  8, 
a  Perfect  Authentic  Cadence. 

A  Period  is  in  Parallel  Construction  when  at  least  the  first 
measure  of  the  antecedent  and  that  of  the  consequent  phraseare  alike. 

There  are  three  stages  of  parallel  construction : 

(1)  When  the  first  three  measures  of  the  consequent  phrase  are 
like  the  first  three  measures  of  the  antecedent  phrase,  the  cadence 
alone  being  changed. 

(2)  When  the  first  two  measures  of  the  antecedent  and  the 
consequent  phrase  are  the  same. 

(3)  When  the  first  measure  of  the  antecedent  is  the  same  as 
the  first  measure  of  the  consequent  phrase. 

Lesson  26 

Parallel  Construction 
Section  A. 

Suggestions  for  Study: 

(l)  Construct  six  periods  in  parallel  construction.  For  each 
antecedent  phrase  make  three  consequent  phrases,  one  of  each 
stage.     (See  model  below.) 


® 


® 


(D 


[1451 


146  Ear-Training  and  Sight-Singing 


Section  B. 

(1)  Review  the  Absolute  Intervals  of  the  preceding  lessons. 

(2)  Continue  the  study  of  intervals  m  minur  as  outlined  in 
Lesson  25,  Section  B,  page  142. 

(3)  The  intervals  used  in  a  key  have  been  between  the  tones 
13  5  8,  which  is  the  Tonic  Chord. 

The  Major  3rd,  1-3,  from  the  Root  to  the  Third  of  the  chord. 

The  Minor  3rd,  3-5,  from  the  Third  to  the  Fifth  of  the  chord. 

The  Major  6th,  5-3,  from  the  Fifth  to  the  Third  of  the  chord. 

The  Minor  6th,  3  -  8,  from  the  Third  to  the  Eighth  of  the 
chord. 

The  Perfect  5th,  1  -  5,  from  the  Root  to  the  Fifth  of  the  chord. 

The  Perfect  4th,  5-8,  from  the  Fifth  to  the  Eighth  of  the 
chord. 

Harmonic,  and  most  Melodic  Intervals,  are  parts  of  a  chord 
and  sound  in  relation  to  the  Root  of  the  chord. 

Since  the  I,  V  and  IV  chords  are  major  chords,  their  interval 
content  is  the  same. 

As  these  chords  are  used  in  composition,  the  same  intervals 
occur  between  different  scale-degrees. 

In  the  V,  or  Dominant  Chord:  In  the  IV,  or  Subdom.  Chord: 

Major  3rd,   Root  to  Third,  from        from  the  4th-6th  degrees 

5th-7th  degrees 
Minor  3rd,  Third  to  Fifth,  from        from  the  6th-8th  degrees 

7th-2nd  degrees 
Major  6th,  Fifth  to  Third,  from        from  the  lst-6th  degrees 

2nd-7th  degrees 
Minor  6th,  Third  to  Eighth,  from        from  the  6th-4th  degrees 

7th-5th  degrees 
Perfect  5th,  Root  to  Fifth,  from        from  the  4th-8th  degrees 

5th-2nd  degrees 
Perfect  4th,  Fifth  to  Eighth,  from        from  the  lst-4th   degrees 
2nd-5th  degrees 

All  these  intervals  are  consonant  intervals,  or  intervals  which 
are  complete  and  do  not  need  resolution.  As  they  occur  in  the  I 
chord  there  is  no  question  as  to  their  position  in  the  key.  As  dif- 
ferent chords  are  used  and  four  or  five  intervals  occur  in  a  chord, 
other  than  the  I  chord,  there  is  a  danger,  because  of  their  consonant 


Period-Form  147 


quality,  of  losing  the  feeling  of  the  active  and  inactive  scale- 
degrees,  or  the  key-centre.  This  cannot  happen  if  the  change  of 
chord  is  recognized  and  the  position  of  the  intervals  in  the  chord 
is  known.  For  example,  in  this  series  the  first  three  intervals,  a 
Major  3rd,  1  3,  a  Perfect  5th,  1  5,  a  Minor  6th,  3  8,  are  known  to 
be  in  the  I  (tonic)  chord,  as  music  generally  begins  with  the  I  chord. 


The  next  interval  might  be  heard  in  the  following  ways: 

(a)  As  a  Major  3rd,  but  not  in  the  I  chord.  If  the  new 
chord  is  recognized  as  the  V  chord,  its  position  is  known  to  be 
from  the  5th  to  the  7th  degree  of  the  scale. 

(b)  If  the  scale-degrees  5  and  7  are  recognized,  it  is  known  to 
be  a  Major  3rd  and  a  part  of  the  V  chord. 

(c)  The  7th  degree  might  be  recognized  as  the  upper  tone  of 
a  Major  third,  so  the  interval  is  from  the  5th  to  the  7th  degree  and 
in  the  V  chord. 

The  next  interval  might  be  heard: 

(d)  As  a  Perfect  5  th  and  in  the  same  chord  as  the  preceding 
interval,  therefore  from  the  5th  degree  to  the  2nd. 

(e)  If  the  scale-degrees  5  and  2  are  heard,  it  is  known  to  be 
a  Perfect  5th  in  the  V  chord. 

(0  It  is  more  likely  to  sound  I  to  5,  or  Root  to  Fifth.  This 
interval  is  felt  to  be  a  part  of  the  same  chord  as  the  preceding 
interval,  so  it  could  not  be  from  the  1st  degree  to  the  5th,  but  from 
the  Root  to  the  Fifth  of  the  V  chord,  and  from  the  5  th  degree  to 
the  2nd. 

The  next  interval,  a  Perfect  4th,  will  undoubtedly  sound  like 
5  up  to  1 ;  the  next,  a  Minor  6th,  3  up  to  8.  Unless  we  realize  that 
these  intervals  are  in  the  same  chord  as  the  two  preceding  and 
soimd  in  relation  to  the  root  of  that  chord,  the  key-centre  is  lost. 
If  they  are  known  to  be  a  Perfect  4th,  from  the  5  th  to  the  1st  (or 
Root),  and  ^  Minor  6th  from  the  3rd  to  the  8th  of  the  V  chord  (not 
of  the  scale) ,  they  are  easily  placed  in  the  key. 

The  last  interval  is  heard  as  a  Major  3rd  in  a  different  chord. 
As  only  the  I  chord  can  follow  the  V  chord,  the  interval  must  be 
from  1  to  3. 

(i)  Learn  the  positions  of  the  intervals  in  major  chords* 
i.  e.,  major  3rd  from  Root,  Third,  etc 


148 


Ear-Training  and  Sight-Singing 


(5)  Learn  the  position  in  the  scale  of  the  intervals  in  the 
V  chord,  i.  e.,  Major  3rd  from  5  to,  7,  etc. 

(6)  In  each  series  (a)  is  in  the  I  chord,  (b)  the  V  chord,  and 
(c)  the  I  chord. 


(a) 


»^ o ' 

4 
<c)              (a) 
_o...     n      .    ,.  . 

»     II  ■■ 

(b) 

'    O    _ — 1  O    8    O     1 
'-»■«-      XT        " 

5 

(C)              (a) 

»— 1 — «— 

(b) 

(c) 
n  o 

<i)  «aS°  1  "    P'oVio  l8So„  1  _    B»n^^  igeoo  |  ii    } 

c) 

"       «.             "' 

'-0. 

(a)  Practise  (a)  as  before,     (b)  Hear  first  the  size  of  the 
interval,  then  place  in  the  chord,  then  in  the  scale.  ., 

(b)  Play  lower  tone  and  sing  the  upper  tone  of  each. 
,  Play  upper  tone  and  sing  the  lower  tone  of  each. 

(c)  Rewrite  in  the  other  keys  and  practise  in  same  manner. 

(7)  Continue  chord-practice  in  the  same  manner  as  in  the 
preceding  lessons. 

(8)  Melodies  for  Dictation  and  Singing: 


Period-Form 


149 


(a)  Play  the  entire  tune. 
'       (b)  Name  the  form  (Parallel  Period). 

(c)  Decide  the  meter.  (The  meter  is  determined  in  Period- 
Form  the  same  as  in  Phrase-Form,  by  the  number  of  pulses  in  a 
phrase.  Number  1  will  be  recognized  as  a  period  in  2/4  and  not  as 
a  phrase  in  4/4,  because  of  the  senii-cadence.) 

(d)  Dictate  first  the  Antecedent  Phrase  in  the  usual  manner, 
outlining  rhythm,  then  pitches. 

(e)  Dictate  Consequent  Phrase.  As  these  melodies  are  all 
Parallel,  1st  stage,  it  will  not  be  necessary  to  make  a  new  outline; 
only  change  the  cadence. 


Section  C. 

(1)  Rhythmic  Study: 

I  J.  -h- 

JJ- 

J>j 

«  1   J        ri 
«»        J        J 

<d)    J.      j) 

.J.      ii 

.J. 
.-n 
■  J. 
.J. 
•  J- 
.J. 

150 


Ear- Training  and  Sight-Singing 


<.*  J  J  J  J   J  JIJ   . 

J   /3J 

J. 

k 

(w       J    J    J     .J    -HJ     . 

jT'.hJ 

J- 

H 

(c.    J  fir:  .J.    -hj   . 

J.   ;)j 

J. 

■ 

»)    J      J   .J.    j)j   . 

J      ji 

J. 

N 

<e)          J      J       /I   .J              /I   . 

J.   ;^j 

J. 

a 

(o        J.       •hj      J     /IJ      . 

J.   -hj 

J. 

■ 

Note.     In    singing    (a)   j    jj  or  J>    J^    give  a  slight  pressure  on   the 
second  beat,  so  that  the  pulse  is  clearly  defined.    Exaggerate  at  first. 

J        r:    .nd     J.         j) 


(2)  Exercises  in  Sight-Singing: 


Period-Form 


151 


10 


:rirpirfcrici:i:f^ 


Lesson  27 

Contrasting  Construction 

A  Period  is  in  Contrasting  Construction  when  the  Consequent 
Phrase  is  different  from  the  Antecedent.  Though  the  consequent 
phrase  may  be  different,  it  will  always  be  related  to  the  antecedent 
in  style  and  general  construction. 

Section  A. 

Suggestions  for  Study: 

(1)  Write  six  periods  in  contrasting  construction;  each  of  the 
six  antecedent  phrases  to  have  three  consequent  phrases;  thus: 


0 

© 
© 

ijpiv  r7\ 

=i=t= 

n  Vr" 

-f — 

f — f — 

f — r — 

(-.  n 

=1= 

Ff=M 

— 1» — 

1    r 

—I — r*i- 

'  r 

-1 5 

_n  n 

— a — 

—J — 

^^  IS 

-A — 

■  J  J  ■ 

— s — 

Section  B. 

(1)  Continue  the  practice  of  Absolute  Intervals  as  in  the  pre- 
ceding lessons. 

(2)  Review  thoroughly  Lesson  26,  Section  B  (3),  page  146. 

(3)  Practise  the  following  intervals  as  outlined  in  the  last 
lesson,  page  148. 


<•) 


n>> 


<C) 


(U 


flb   ,.  1 

»  o  ■  ■   1  8 

O 1 

— H 

^^ 

l:-o    1 

^ 

g  *  — 1 

v  *' 

'  ♦  •» 

"w» 

*■" 

(b) 
6 

<C) 

*,a, 

_.  O- 

(b) 

(e) 

^. 

(W 

(c> 

152 


Ear-Training  and  Sight-Singing 


(4)  Play  the  I-V^-I  chords  in  every  major  key,  as  outlined. 


I      V»  I  I      v'  I 


(5)  Melodies  for  Dictation  and  Singing. 

Parallel  Construction,  2nd  stage,  and  Contrasting  Construc- 
tion: I  J-   J».|  J-   >J 

Mi 


f  l\  'f^  I  Mff  hi  J.  J  M  I  hi  ni  l_l  I'llf!!:^  M  \J  Mf  f  I  Jlr'^ 


Period-Form 


153 


(a)  Dictate  one  phrase  at  a  time  as  in  the  preceding  lesson. 
In  these  melodies  it  will  be  necessary  to  make  a  new  outline  for 
the  consequent  phrases.  To  outline  the  rhythm  J.  ^  tie  the 
two  dots  and  place  a  check  after  2nd  dot.     In  No.  1,  the  first 

phrase  would  be  outlined  as  follows :  4  *'  '•    •    'v^*"*  *\,  •    'v^*"*  • 
Section  C. 

(1)  Rhythmic  Study:      J.   J^mJ 


(■) 


(f) 


^  J  J  J  J  .J    n  J  Ji  J'    -^  J-   -h 

.J 

J  nj  Jij-      J^  J.  J^  .JJ"J  J  J-    -h 

1 0 

J       J  J    .J-        J^  J         J-      J)  JlJT^ 

•  0 

J.  i^j.  i^.;73n^j      J.     ^  J-    ^ 

1 0 

j^j  -HJ-  -h.j    jm'j-  J^  J-    i^  J  /3 

J 

ji.j.  -hj  Ji  .J.     j^  J  JT^^njmj-    i^ 

.J 

(2)  Exercises  in  Sight-Singing: 

! 


^,'/r  f  Junrif^J!,!  IN.  I  irrJij(irir-j,J-^ 


154  Ear-Training  and  Sight-Singing 


CHAPTER  XVIII 

Figure  or  Motive.   Exact  Repetition  and  Sequence 

A  Figure  in  music  is  a  group  of  notes  arranged  in  a  pattern, 
generally  one  measure  long.  A  figure  is  used  to  express  an  idea 
from  which  is  developed  the  complete  thought,  which  makes  a 
phrase.  A  figure  makes  a  melody  more  comprehensive  to  the 
listener,  because  it  permits  of  uniformity  of  design. 

A  figure  is  used  in  two  ways:  (1)  In  exact  repetition  when  it 
is  repeated  on  the  same  pitches;  (2)  in  exact  sequence  when  it  is  re- 
peated on  different  pitches,  the  interval  relationship  of  the  tones 
remaining  unchanged.  More  than  one,  or  at  most  two,  repetitions 
are  seldom  used  at  a  time.    There  may  be  two  or  three  sequences. 

Lesson  28 
Section  A. 

Suggestions  for  Study: 

(1)  Construct  six  Periods,  three  parallel,  three  contrasting; 
each  antecedent  to  have  three  consequent  phrases. 

Develop  each  from  a  figure  of  one  measure,  used  in  exact 
sequence  and  repetition.    Thus: 

,  "Repetition!  Sequence  ^  Repetition  'Sequence  of* 


Figure     of  Figure  of  Figure  New  figure    of  Figure    1st  Figure 


Note.  In  contrasting  construction  a  new  figure  must  be  used  for  the 
consequent  phrase.    It  may  be  similar  to  the  first  figure.     (See  example.) 

Section  B. 

(1)  Play  F-G    fe  ^^„  ■  as  an  harmonic  interval.     Name  it. 

Notice  that  this  interval  needs  something  to  make  it  complete, 
i.  e.,  it  needs  resolution.  Intervals  which  need  resolution  are 
Dissonant  Intervals. 

Play  it  again  and  note  that  the  lower  tone  resolves  down,  while 

the  upper  tone  is  held:  

[155] 


156 


Ear-Training  and  Sight-Singing 


Play  G-F 


as  an  harmonic  interval.     Name  it. 


Notice  that  this  interval  also  needs  resolution ;  that  the  upper 
tone  resolves  down  and  the  lower  is  held. 

As  an  harmonic  interval  is  part  of  a  chord,  the  Minor  7th  and 
its  inversion  must  be  part  of  a  seventh-chord.  The  most  used 
seventh-chord  is  the  V,  therefore  the  Minor  7th  is  heard  as  5  to  4 
and  the  Major  2nd  as  4  to  5,  parts  of  that  chord. 

To  distinguish  the  2nd  from  the  7th;  the  lower  tone  of  the 
2nd  resolves,  and  the  upper  tone  of  the  7th  resolves. 


2nd). 


7th). 


(a)  Play  each  of  the  intervals  of  (a)  and  sing  4-5   (Major 

Play  the  lower  tone,  sing  the  upper. 

Play  the  upper  tone,  sing  the  lower  and  resolve  it  to  3. 

(b)  Play  each  of  the  intervals  of  (b)  and  sing  5-4  (Minor 


Play  the  lower  tone,  sing  the  upper  and  resolve  it  to  3. 
Play  the  upper  tone,  sing  the  lower, 
(c)  Play  each  of  the  intervals  of  (c)  and  determine  whether 
it  is  a  Major  2nd  or  Minor  7th,  testing  whether  it  is  4-5  or  5-4. 

(2)  Make  exercises  of  absolute  intervals  as  given  in  Lesson 
25,  Section  B,  page  141,  and  add  the  Major  2nd  and  Minor  7th. 

(3)  Practise  the  following  intervals  as  outlined  in  the  pre- 
ceding lessons.    The  two  dissonant  intervals  are  used  in  section  (b). 


99     a 


(4)  Continue  chord-practice  of  preceding  lesson. 


Figure — Exact  Repetition  and  Sequence 


157 


(5)  Melodies  for  Dictation  and  Singing;  Parallel  construction, 
3rd  stage,  and   Contrasting    construction,   using  melodic  minor: 

and   4  J.   ;^     §  J   ;5 

(a)  In  analysis  of  melodies,  note  the  use  of  a  figure  in  re- 
petition and  the  sequence.  In  No.  1,  measure  1,  is  a  figure;  meas- 
ure 2  is  a  repetition  of  1 ;  measure  5  a  repetition  of  1 ,  measure  6  a 
sequence  of  5.  Analysis  of  the  use  of  figures  is  an  invaluable  aid 
to  memorizing. 

(b)  After  writing,  mark  figures,  sequences  and  repetitions, 
as  in  example,  Section  A. 

1 


158 


Ear-Training  and  Sight-Singing 


Section  G. 

(1)  Rhythmic  Study:  /I  '»  f  »"•»  J 


(c)  r??  /    3 .  j^^  /    3 .  /??g  .n  .  J 

«)  J     n  .J-       -^  ./ — 3J^  I  J 

(•)  n  /    3 .  J   3  j^n  .  r^  n  I  J 

(n  /I    ;??^  .JT3/     3  .J.  .h    I  J 


<b> 


<f) 


/^  •nj    3./5??jT^;~^ij     ;~3/^.  J- 


In  studying  the  JT^     be  sure  that  the  sixteenth  Is  felt  as 
the  last  of  a  group  of  four  sixteenths  j— 4   not  as  a  part  of  a 


triplet 


(2)  Exercises  in  Sight-Singing: 
1 


'"  ",J'J.jJiif  "^'1     ii,j.Jjiiij.  '  II 


Figure — Exact  Repetition  and  Sequence  159 


I'll  ;n  [jj.  iiiJTijv]  ip. ,  ij^iJTIj^]  i.f>3j.^;y 


CHAPTER  XIX 

Figure.    Modified  Repetition  and  Sequence 

A  figure  can  be  used  in  repetition  and  sequence  in  modified 
forms. 

A  figure  can  be  modified  by 
(1)  Adding  tones  to  the  figure: 

Figure 


(2)  Changing  rhythm, 
(a)  Dotting  notes. 


(b)  Contraction  (making  the  note-values  one-half  as  long)c 


(c)  Expansion  (making  the  note- values  twice  as  long). 

j  H  I    I  I  I  I    MM 

(3)  Changing  the  size  of  the  intervals. 


(4)  Using  part  of  the  figure  in  repetition  and  sequence. 


(5)  By  inversion,  in  exact  or  modified  form. 


(160) 


Figure — Modified  Repetition  and  Sequence 


161 


Lesson  29 
Section  A. 

(1)  Suggestions  for  Study: 

(a)  Construct  two  Periods;  one  parallel,  one  contrasting, 
one  major,  one  minor,  in  4/4  and  6/8  meter:  each  antecedent 
phrase  to  have  three  consequent  phrases. 

Develop  from  a  figure,  one  measure  long,  used  in  repetition 
and  sequence,  modified  by  adding  tones  and  changing  rhythm. 


(b)  Construct  two  periods  as  in  (a) .  Develop  from  a  figure 
one  measure  long,  used  in  repetition  and  sequence,  modified  by 
adding  tones,  changing  rhythm,  and  size  of  the  intervals.    Thus: 


(c)  Construct  two  periods,  as  in   (a);  develop  as  before 
using  part  of  figure  in  sequence  and  repetition.     Thus: 


(d)  Construct  two  periods,  as  in   (a);  develop  as  before, 
using  the  figure  in  inversion.     Thus: 


Section  B. 

(1)  Continue  practice  of  Absolute  Intervals  as   outlined  in 
Lesson  28,  Section  B,  page  155. 

(2)  Intervals  for  Practice  in  the  I  and  V^  chords. 


I 

(a) 

1"  ■ 

(C) 

"    1    B 

2 

(a) 

— Ho*' 

o 

fb) 

<C) 
"    1     o 1 

#=^ 

i — " 

^LH-tt 

U   11  II 

' xj- 

U   '"«»  ■ 

■»  1  "    1 

3 

(at 

»-Q — 

(W 

(C) 

j — 

4 
(a) 

l-o- 

» o 

(b) 

O      1  O    1 

~o — 1  " 

*— n 

fe) 

..    1     o 1 

V 

*-^ 

r 

*-**-n- 

«v>  1    t 

¥=^ 

Li_4J_ai 

t  "  II 

■'  1  ° — 1 

162 


Ear-Training  and  Sight-Singing 


(3)  (a)  Play  the  I-V^-I  chords  in  every  minor  key. 


(b)  Sing  these  chords  in  arpeggio  form  using  number  and 
letter-names. 
(4)  Melodies  for  Dictation  and  Singing.     Parallel  and    con- 
trasting constructions.     Figures  in  sequence  and  repetition,  modi- 
fied by  adding  tones  and  changing  size  of  intervals. 


Figure — Modified  Repetition  and  Sequence 


163 


(a)  In  melodic  analysis  determine  figure  first,  then  modifi- 
cations. 

(b)  In  outlining  rhythm    JT^    place  2   under  dot  and   a 
check   after,    as   this   is    the    only  figure  of  two  uneven  notes. 

No.  3.    -^-v  i  ':  ;  * 

(c)  After  writing,  mark  figures,  sequence  and  repetitions. 


Section  C. 

(1)  BJiythmic  Study:    -TS  »»  1 


(»   J  ^^Rn^J  simn^i    ^s^ji^i„       ■ 

(c)    J        J.      J^.j       ;>J~3;^.J^J3S/lJ533.o  • 


(2)  Exercises  in  Sight-Singing: 

1 


164     "*  Ear-Training -and  Sight-Singing 


CHAPTER  XX 

Period -Form  {continued) 

Parallel  Construction  by  Sequence  and  Inversion 

A  period  is  in  parallel  construction  when  at  least  the  first  or 
the  first  two  measures  of  the  consequent  phrase  are  a  sequence  of 
the  antecedent  phrase ;  it  is  then  said  to  be  parallel  by  sequence. 

A  period  is  in  parallel  construction  when  the  first  or  the  first 
two  measures  of  the  consequent  phrase  are  an  inversion  of  the  ante- 
cedent phrase;  it  is  then  said  to  be  parallel  by  inversion. 

Lesson  30 
Section  A. 

Suggestions  for  Study: 

(1)  Construct  periods,  making  the  consequent  phrase  a 
sequence  of  the  antecedent.     Thus:  ' 


(2)  Construct    periods,    making    the    consequent    phrase    an 
inversion  of  the  antecedent.     Thus: 


Section  B. 

(1)  Continue  practice  of  Absolute  Intervals. 

(2)  Intervals  for  Practice  in  the  I  and  V^  chords  in  minor. 

(a)  Review  Lesson  25,  Section  B  (2),  page  142. 

(b)  Note  the  changed  position  of  the  Major  and  Minor  3rd 
and  6th  in  the  I  chord  in  minor.  The  intervals  of  the  V  in  major 
and  minor  are  the  same. 


1 

=^-H — ^ 

2 

(a> 

1 H r,-A»- 

.1    |o  '»!)< 

> 1 R 

%'"'  ^t 

^A 

J=^ 

IRS  o 

-OlT 

s  °  ' 

"^&°° 

o — 1  o  o  1 

*  8  o„  1  g   y 

3 

4 tn 

(CI 

o  °     1     » 

4 

(a) 

1 — II  „  n  .. — 

(tt) 

1 «-fr 

(Cl 

8  o  °    1    " — 1 

m*\i    o  o 

^=« 

^^ 

U-O- 

— cr 

o  o — 1 

"°     °^ 

8  1*^1**  '* 

"  u  "    '    **— ' 

[165] 


166 


Ear-Training  and  Sight-Singing 


(3)  Continue  chord-practice  as  outlined  in  the  preceding 
lesson. 

(4)  Melodies  for  Dictation  and  Singing.  Construction  parallel, 
by  sequence  and  inversion.  Figures  modified  by  adding  notes, 
changing  size  of  intervals,  using  dots  and  inversion. 


Period-Form — Parallel  Construction  by  Sequence y  etc.    167 


Section  G. 

(1)  Rhythmic  Study:    /T???  ««  § 


<w  J   J)  jjjjjjj    •f9*m  ij  jjjjj  jjjjij-    J- B 

CO.    J.     J ^./n /^.j    jg/^.j.    J.. 

<«       jn    J    JJJJiJ???^J       i)   ij- J  .TTTJiJ   -h  J-  - 

'«  J.       /T??3.J"n  JTffliJTffi/Tffl.J  /3J- « 


(2)  Exercises  in  Sight-Singing: 
1 


^^'■'\^T^  r  -'I  I'  u  ii  I  u  I'  j  ijjjji'^ 


168  Ear-Training  and  Sight-Singing 


CHAPTER  XXI 
Setting  Words  to  Music 

In  setting  words  to  music  we  shall  begin  with  the  common 
poetic  form,  the  four-line  stanza  in  trochaic  tetrameter.  The 
relation  of  this  form  to  the  phrase-  and  period-form  in  music  is 
very  close. 

First  scan  the  poem  for  long  and  short  syllables;  then  find  the 
number  of  long  (or  accented)  syllables  in  the  complete  thought. 
Each  long  syllable  will  occupy  an  accented  pulse  in  music. 

The  smallest  form  in  music  used  to  express  a  complete 
thought  is  a  phrase. 

The  meter  is  determined  by  the  number  of  long  syllables  in 
the  complete  thought  of  the  poem.  If  there  are  four  long  syllables^ 
the  meter  will  be  duple  or  triple ;  if  eight,  either  a  four-  or  a 
six-pulse  meter. 

The  meter,  whether  duple  or  triple,  is  decided  by  the  kind 
of  feet  used  in  the  poem.  A  trochee  ( — ^^)  would  be  duple, 
a  dactyl  ( — -^  -^^  )  triple.  If  the  short  syllable  comes  first,  as  in  an 
iambus  (^-' — ),  the  music  will  begin  on  the  up-beat. 

"Twinkle,  twinkle,  little  star, 
How  I  wonder  what  you  are ; 
Up  above  the  world  so  high. 
Like  a  diamond  in  the  sky." 

•■>  s^  _  ^^  —  v^  ^  (^S) 

^.       >^        ~       ^^       —        >^        —      ^3) 

Note — Each  line  has  a  silent  short  syllable. 

As  this  would  be  a  compound  sentence  in  prose,  we  use  a 
Period  in  music.  In  the  first  phrase  (two  lines  of  the  poem),  there 
are  eight  long  or  accented  syllables.  Therefore  we  have  either  a 
four-  or  a  six-pulse  meter.  At  first  sight  we  seem  to  require  4/4 
meter,  because  of  the  constant  trochaic  rhythm.  In  reciting  this 
poem  we  shall  find  that  we  really  scan  it  — ^-^  >— -  with  one  silent 
short  syllable.  If  this  is  the  case,  we  shall  use  6/8  meter.  This 
seems  the  better,  though  either  is  possible. 

11691 


170 


Ear-Training  and  Sight-Singing 


The  poem  takes  the  following  arrangement  as  to  measure  and 
phrase: 

Twln-kle,  twln-Ue,     lit .  Us  star,       Hoxtr   I     won-Aet    vbat  yo«  ant 


J     J     J      J     .J     J      J 


J  J  J  J  .J  J  J 
J  J)  J  j^ .  J  ;>  J. 


up     a-bove  the    world  so   blgb,       Like    a     dla-moud     In      tbe   sky. 

J      J      J      J      .  J      J      J  .  J       J      J      J      .  J        J      J 

J      W    J      Ji    .  J      j)    J.        .  J      sh    J      J^    .  J       ji    J. 


The  melody  will  follow  the  melodic  laws.  The  choice  of  high 
or  low  tones  is  determined  from  the  importance  of  the  words  and 
syllables.  The  range  will  be  from  one  to  one  and  one-half  octaves. 
In  speaking  the  word  twinkle  the  inflection  on  the  first  syllable 
is  higher  than  on  the  second,  so  in  our  choice  of  tones  we  should 
select  for  the  first  syllable  a  tone  higher  in  pitch  than  for  the  second. 
The  most  important  word  in  the  phrase  is  placed  on  the  highest 
pitch.  We  might  consider  the  climax  of  the  phrase  to  be  on  how, 
wonder,  what,  or  are.  Wonder  is  probably  the  best.  In  that  case, 
wonder  would  receive  the  highest  pitch.  The  choice  of  parallel  or 
contrasting  construction  is  optional. 

Rhythmic  variety  may  be  obtained  by  using  two  or  more 
pitches  for  one  syllable,  or  by  dotting  notes.  In  those  first  attempts 
it  is  better  to  keep  the  rhythm  as  uniform  as  possible. 


Lesson  31 


Section  A. 


Suggestions  for  Study: 

(1)  Scan  and  outline  rhythmically  for  musical   setting,  the 
following  rhymes : 


Setting  Words  to  Music 


171 


Jack  and  Jill 
*Little  Jack  Homer 
♦Little  Miss  Muffet 
*Mary,  Mary 

Humpty  Dumpty — 

(2)  Make  musical  settings  of  the  poems. 

(3)  Use  stanzas  of  your  own  choice  or  composition  in  the 
same  meter. 

Section  B. 

(1)  Continue  practice  of  Absolute  Intervals. 

(2)  Intervals  for  Practice  on  I  and  V  chords,  in  minor. 


(a) 

^ 



a» 

(C) 

1     11.. 

o 

(b) 

(C) 

&'''     " 

dUb 

";^  i^iji 

*^1FS= 

^^+^ 

'     II  "11 

-^»TT 

1        c 

■•^°^:.' " ' 

3 

(a) 

TT 

(b) 

O— I 

TI — i —  "o 

H». 

(C) 
n — 1 — n 

4 
(a) 

a**., 

1 

-rr" 

(b) 
-hnr- 

(C) 

w-^^ 

u 

3x: 

"  '*     1    ^1| 

^^= 

O     1     ■■ 

1  i " '' 

=nL: 

:ilpe=J 

^^1° ' "  > 

5 

(aj 

rr 

0» 

fnr^ 

i-^,, — ^ 

(C) 

6 

(a) 

""T ^ 

o- 

(W 

(C) 
ci S 1 1 

Y 

KX 

■«■ 

^^F^^ 

S_| U 

'     i»" 

(1  <i 

Tf~ 

"ha    °  1  »   1 

(3)  Continue  chord-practice  as  in  Lesson  29,  Section  B ,  page  1 62 . 

(4)  Melodies  for    Dictation    and  Singing.    All  constructions 
and  figure  modifications  are  to  be  used. 


*It  will  be  found  that  in  these  rhymes  the  second  line  of  each  is  lacking  two  syllables,  anfj 
that  in  reciting  we  always  wait  for  the  time  to  pass  that  these  syllables  would  occupy.  For 
example,  Mary,  Mary,  scans: 


-    C-     -] 


-  [-  -] 


"Mary,  Mary,  quite  contrary. 
How  does  your  garden  grow? 
With  silver  bells  and  cockle  shells 
And  little  maids  all  in  a  tow." 


172 


Ear-Training  and  Sight-Singing 


|A\  j>.N.i]ii.i,j  Ml  ''^:£fir  M  nii'j  ijij.ji 


Note.     In  outlining  rhythm      JT^P?  in  §  write  5  under  the  dot.   No.  1 

9 


I .   .   I .    .^   « •   .    I 

t  3>     «>         "-^ 


Section  C. 


(1)  Review  rhythmic  drill  of  the  preceding  lesson. 

(2)  Exercises  in  Sight'Singing: 


Setting  Words  to  Music 


173 


174 


Ear-Training  and  Sight-Singing 


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jC  southern  HEG'ONA^  ..ssas- 


ly    J^    dS  &  -        A     000  75T  997     8 


f^^t     1%.^    (p'^Uk     clyi^ly 


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